@prefix geosparql: . @prefix write: . @prefix wdt: . @prefix wd: . @prefix rdfs: . @prefix sch: . @prefix xsd: . @prefix dcat: . @prefix dcterms: . # Dataset metadata dcterms:title "WRITE Dataset"@en ; dcterms:description "The WRITE dataset represents contemporary Chinese calligraphy and arts, connecting artworks, their calligraphic or writing-like components, artists, and their broader contexts."@en ; dcterms:creator , , , , ; dcterms:license ; dcterms:created "2026-10-12"^^xsd:date ; dcat:version "1.0" . # Dataset content a wd:Q464980 ; wdt:P10661 , , , ; wdt:P1476 "Bashu Parade (巴蜀点兵)"@en, "巴蜀点兵"@zh, "Bāshǔ diǎn bīng"@zh-Latn ; wdt:P276 ; wdt:P580 "1999"^^xsd:gYear ; wdt:P664 , , , . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P1412 ; wdt:P21 ; wdt:P2561 "Yang Yingshi 杨应时" ; wdt:P27 ; wdt:P937 ; write:description "curator of “Brushed Voices: Calligraphy in Contemporary China” held in New York 1999." . a wd:Q7725634 ; wdt:P1476 "The Book of the Way and Its Virtue (道德经) / Laozi (老子)"@en, "道德经 / 老子"@zh, "Dào dé jīng / Lǎozǐ"@zh-Latn ; wdt:P1480 ; wdt:P50 ; wdt:P571 "0350"^^xsd:gYear ; write:description "The \"Book of the Way and Its Virtue\" (Dao de jing, also spelled Tao Te Ching) is a classic Chinese text traditionally attributed to the sage Laozi, dating back to a period between the 4th and 3rd century BCE. This work represents a foundational text of Daoism, emphasizing the philosophy of living in harmony with the Dao (or Tao), which means \"the Way\" or the fundamental principle underlying the universe. The Dao De Jing consists of 81 short chapters, written in poetic and often paradoxical language. It explores themes such as simplicity, humility, non-action (wu wei), and the balance of opposites (yin and yang). " ; write:hasWikidataResource . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Zeng Xiang 曾翔" ; wdt:P27 ; wdt:P569 "1958"^^xsd:gYear ; wdt:P742 "Mumutang 木木堂", "Qutang 曲堂", "Sanyou Zhuliuzhai 三牖竹榴斋", "Yifu 一夫" ; wdt:P812 ; wdt:P937 ; sch:thumbnailUrl ; write:description "Zeng Xiang 曾翔 was born in 1958 in Suizhou, Hubei Province. He holds the title of National First-Class Artist. Currently, Zeng Xiang serves as a researcher at the China National Academy of Painting, where he also mentors the Zeng Xiang Calligraphy Studio. Additionally, he is a graduate advisor at the Changxin International Academy of Art, Yunnan University." ; write:hasCalligraphicTraining "Academic"@en ; sch:image . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Word Play: Contemporary Art by Xu Bing"@en ; wdt:P276 , ; wdt:P580 "2001-10-21"^^xsd:date ; wdt:P582 "2002-01-13"^^xsd:date ; write:description "The exhibition \"Word Play: Contemporary Art by Xu Bing\" was held from October 21, 2001 to January 13, 2002 at the Arthur M. Sackler Gallery, part of the Smithsonian Institution in Washington D.C., USA. This exhibition showcased several installations by Xu Bing, such as 'Reading Landscape', 'Monkeys grasp for the Moon' and the debut of 'Living Word' (Niao fei le 鸟飞了). The exhibition explored Xu Bing's innovative approach to the Chinese written script, expanding the boundaries of words, images, and ideas." ; write:exhibitedArtwork , . a wd:Q43229 ; wdt:P2561 "Library of the University of Bologna"@en ; wdt:P276 ; wdt:P571 "2000"^^xsd:gYear ; wdt:P856 ; write:description """The University Library is an autonomous institution of the University of Bologna and has as its mission the protection, conservation, use, promotion, enhancement and development of its bibliographic-documentary and photographic heritage.\r In particular:\r - it takes care of the conservation and protection of its heritage and ensures its use by users\r - provides bibliographic-documentary services\r - provides for the development of the collections according to the guidelines of the Scientific Committee\r - participates in national catalogues and specific cataloguing and digitisation projects\r - is the legal deposit institution for the territory of the metropolitan city of Bologna\r - promotes the enhancement of its heritage also through temporary exhibitions\r - promotes and participates in local, national, EU and international research projects related to the knowledge, study and dissemination of its heritage\r - takes care of, promotes and enhances the documentary and photographic heritage relating to the history of the University (Historical Archive) and organises the selection of the document flow from the deposit archive.\r In 2017 the Historical Archive of the University of Bologna was added to the Library.\r In 2018, the International Centre for Humanistic Studies "Umberto Eco" also joined the network."""@en ; write:hasWikidataResource . a wd:Q43229 ; wdt:P2561 "Collegium Musicum Almae Matris"@en ; wdt:P276 ; wdt:P571 "1953"^^xsd:gYear ; wdt:P856 ; write:description """The Collegium Musicum Almae Matris, Choir and Orchestra of the University of Bologna, promotes musical activities within the University and concerts for the city of Bologna. Every year it involves more than 300 university students, many of them foreigners, giving them the opportunity to discover or deepen their passion for music by singing in one of their three choirs or playing in the orchestra.\r We organise numerous concerts and MusicAteneo, the international festival involving university orchestras and choirs from all over the world. It promotes tours and exchange projects with musical groups from foreign universities and offers musical training activities: workshops, laboratories and in-depth meetings.\r The Collegium collaborates with important cultural institutions in Bologna, such as the Teatro Comunale, the Teatro Duse, the Alliance Française, the Accademia Filarmonica, and the Fondazione Musica Insieme, and with internationally renowned musicians, including: Ezio Bosso, Filippo Maria Bressan, Simon Carrington, Azio Corghi, Paolo Grazia, Piero Monti, Chiara Opalio, Stefan Parkman Zoltán Peskó, Donato Renzetti, Roberto Polastri, Carlo Tenan and Peter Shannon."""@en . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P186 , ; wdt:P462 ; write:attributedTitle "CWU Away with the Flow - Taiji Calligraphy & Animation (lines)" ; write:description "This CWU is part of the artwork \"Away with the Flow - Taiji Calligraphy & Animation (顺气自然 - 太极书法动画)\". It consists of a set of 175 calligraphy drawings visualizing the movement and body language of Taiji practice. Jessie Yingying Gong has drawn lines with a brush dipped in yellow ink, drawing two arms and two legs of a little man that reproduces all the main movements of Taiji."@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasSignificance "Set of lines (meaningless)" ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Multiple Projected Traditional Calligraphies (unknown)" ; write:description "This CWU is part of the series of multiple frame traditional calligraphy projected during the dancing performance \"Cursive I\". 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51.783333333333)"^^geosparql:wktLiteral . wd:Q962904 wdt:P625 "Point(-0.83416666666667 45.250277777778)"^^geosparql:wktLiteral . wd:Q998306 wdt:P625 "Point(114.6974 38.61899)"^^geosparql:wktLiteral . rdfs:label "campus" . rdfs:label "Art China" . rdfs:label "Minaxdo - Official Website" . rdfs:label "ancient Chinese ritual bronzes" . rdfs:label "birds and flowers painting" . rdfs:label "Chinese temple" . rdfs:label "chrysanthemum" . rdfs:label "four noble plants" . rdfs:label "jade" . rdfs:label "lotus flower" . rdfs:label "pagoda" . rdfs:label "paper lanterns" . rdfs:label "sky, earth and human beings" . rdfs:label "stencil" . rdfs:label "sword dance" . rdfs:label "taotie" . rdfs:label "three distances" . rdfs:label "wrinkle method" . rdfs:label "Wenda Gu (artist's website)" . rdfs:label "Gu Wenda's United Nations (Gu Wenda website)", "United Nations SFMOMA (Gu Wenda website)" . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Between Bamboo (竹·间) "@en, "竹·间"@zh, "Zhú·jiān"@zh-Latn ; wdt:P276 ; wdt:P580 "2019-07"^^xsd:gYearMonth ; wdt:P582 "2019-07"^^xsd:gYearMonth ; write:description "Wang Dongling's solo exhibition \"Between Bamboo\" (Zhu · Jian 竹·间) was held in Suzhou at Wuxiang Cultural Space (Wuxiang Wenhua Kongjian 五象文化空间), located on the third floor of Hyatt Regency (Gusu Kaiyue Jiudian 姑苏展于苏州凯悦酒店) in July 2019. In this exhibition, Wang Dongling displayed for the third time the installation “The Bamboo Path” (Zhu jing 竹径) composed of 201 bamboo poles and 30 transparent propylene sheets. This installation was first exhibited in 2017 at the OCAT Shenzhen. "@en ; write:exhibitedArtwork . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Wu Hongliang 吴洪亮" ; wdt:P27 ; wdt:P569 "1973"^^xsd:gYear ; wdt:P856 , , ; wdt:P937 ; write:description "Wu Hongliang is a politician of the People's Republic of China. He is currently the president of the Beijing Fine Art Academy (Beijing huayuan 北京画院), the director of the Art Museum of the Beijing Fine Art Academy (Beijing huayuan meishuguan 北京画院美术馆), and the director of the Memorial Hall of Qi Baishi's Former Residence (Beijing Huayuan Qi Baishi jinianguan 北京画院齐白石纪念馆). "@en ; write:hasWikidataResource ; write:isCuratorOf . a wd:Q7725634 ; wdt:P1476 "Ink Bamboo (墨竹)"@en, "墨竹"@zh, "Mò zhú"@zh-Latn ; wdt:P50 ; write:description "The poem “Ink Bamboo” (Mo zhu 墨竹) was written by Jin Nong 金农 (1687–1763), a famous painter and calligrapher of the early Qing dynasty (1644-1911). The poet explicitly referred to bamboo in the first line of the poem. In his paintings, Jin Nong generally used traditional images full of symbolism, such as the 'Four Gentlemen' (Si junzi 四君子), i.e., orchids, bamboo, chrysanthemums, and plums. He preserved his independence by selling works in an open market, rather than relying on an individual patron. His calligraphy was also highly regarded, and his distinctive syle, the \"lacquer calligraphy\" (Qi shu 漆书), is very well-known. "@en ; write:transcriptionAndTranslation """"On fine paper from the Five Dynasties, within the library, open the window to paint bamboo, where clouds gently unravel.\r Do not lightly compare to reeds and rushes; this is Yang Fengzi's bold calligraphy."""@en, """五代隃糜内库纸，开轩画竹云舒舒。\r 莫将蒲苇轻相比，此是杨风子草书。"""@zh, """\r Wǔdài shù mí nèi kù zhǐ, kāi xuān huà zhú yún shū shū.\r Mò jiāng pú wěi qīng xiāng bǐ, cǐ shì yángfēngzǐ cǎoshū."""@zh-Latn . a wd:Q7725634 ; wdt:P1476 "Painting Bamboo (画竹)"@en, "画竹"@zh, "Huà zhú"@zh-Latn ; wdt:P50 ; write:description "The poem “Painting Bamboo” (Hua zhu 画竹) was written by the polyhedric artist Xu Wenzhang (徐文长, 1521 – 1593), also known as Xu Wei 徐渭, of the late Ming dynasty (1368-1644). This poem explicitly refers to Wen Yuke (文与可), the courtesy name of Wen Tong (文同), a celebrated painter of bamboo from the Song dynasty. Wen Tong is often praised as a master for his ability to “transmit the spirit” of bamboo through the movement and vitality of the brushstroke. The poem reflects on the artistic style of painting that \"does not seek resemblance in form but rather captures the charm of life\" (bu qiu xingsi, qiu shengyun 不求形似求生韵). Xu Wei sought to strip away heaviness and complexity in painting, aiming to capture the spirit through simplified forms. His approach emphasized expressive vitality over meticulous likeness, embodying a philosophy where essence took precedence over appearance, emphasizing an expressive approach that transcends mere likeness."@en ; write:transcriptionAndTranslation """All things are precious for the shadows they cast; bamboo is even more so when painted in this way.\r In dense shade no bird can pass; emerald waves rise naturally to meet the sky.\r With sharp, crisp sounds the stones resound; in the misty distance, there is another realm of smoke.\r One only needs Wen Yuke, brush in hand, to capture the spirit and pass it on."""@en, "万物贵取影，画竹更宜然，浓阴不通鸟，碧浪自翻天，戛戛俱鸣石，迷迷别有烟，只需文与可，把笔取神传。"@zh, "萬物貴取影，畫竹更宜然，濃陰不通鳥，碧浪自翻天，戛戛俱鳴石，迷迷別有煙，只需文與可，把筆取神傳。"@zh, "Wànwù guì qǔ yǐng, huà zhú gèng yí rán, nóng yīn bùtōng niǎo, bì làng zì fāntiān, jiájiá jù míng shí, mí mí bié yǒu yān, zhǐ xū wén yǔ kě, bǎ bǐ qǔ shén chuán."@zh-Latn . a wd:Q7725634 ; wdt:P1476 "Ink Bamboo for a Friend (画竹寄友人)"@en, "画竹寄友人"@zh, "Huà zhú jì yǒurén"@zh-Latn ; wdt:P50 ; write:description "The poem \"Ink Bamboo for a Friend\" (Hua zhu ji youren 画竹寄友人) was written by the famous painter and calligrapher Ni Zan (1301 – 1374) of the Yuan dynasty (1271-1368). Along with Huang Gongwang (黄公望, 1269–1354), Wu Zhen (吴镇, 1280–1354), and Wang Meng (王蒙, 1308–1385), Ni Zan was considered one of the \"Four Masters of the Yuan Dynasty\" (Yuan si jia 元四家). During the collapse of the Yuan dynasty, he traveled extensively through southern China, devoting himself to painting. This poem reflects Ni Zan’s personal and artistic philosophy, where bamboo serves as a metaphor for moral integrity and spiritual resilience. Through these verses, Ni Zan not only offers a gift to his friend but also conveys his own inner cultivation, aligning artistic expression with ideals of simplicity and detachment."@en ; write:transcriptionAndTranslation """In early spring, peach and plum vie in splendor;\r By summer’s height, willows and rushes fade in lament.\r I thank you, friend, for seeking stillness;\r Planting bamboo, what better to guard your heart?\r \r Tall and straight, its mind remains pure and tranquil;\r Dense and verdant, even after frost and snow have passed.\r Composing these verses, I send my distant thoughts;\r This noble companion—bamboo—truly endures through time."""@en, """先春竞桃李，凌阳叹蒲柳。 \r 谢君静者徒，种竹安所守。 \r 亭亭清净心，郁郁霜雪后。 \r 赋诗寄远怀，此君真可久。"""@zh, """先春競桃李，凌陽嘆蒲柳。\r 謝君靜者徒，種竹安所守。\r 亭亭清淨心，鬱鬱霜雪後。\r 賦詩寄遠懷，此君真可久。"""@zh, """Xiān chūn jìng táolǐ, líng yáng tàn púliǔ. \r Xièjūnjìng zhě tú, zhǒng zhú'ān suǒ shǒu. \r Tíngtíng qīngjìng xīn, yùyù shuāng xuě hòu. \r Fù shī jì yuǎn huái, cǐjūn zhēn kě jiǔ."""@zh-Latn . a wd:Q7725634 ; wdt:P1476 "Spontaneous Verses at a Mountain Retreat in Late Spring (春晚山庄率题) "@en, "春晚山庄率题"@zh, "Chūn wǎn shān zhuāng lǜ tí"@zh-Latn ; wdt:P50 ; write:description "The poem \"Spontaneous Verses at a Mountain Retreat in Late Spring\" (Chun wan shanzhuang lü ti 春晚山庄率题) by Lu Zhaolin 卢照邻 (ca. 634 – ca. 684 or 686) consists of two quatrains. Lu Zhaolin, a famous poet of the early Tang dynasty (618-907), was celebrated as one of the \"Four Paragons of the Early Tang\" (Chu Tang si jie 初唐四杰), along with Wang Bo 王勃, Yang Jiong 杨炯, and Luo Binwang 骆宾王. In the poem, Lu Zhaolin vividly depicts the natural scenery of a mountain villa in late spring. In the third line (竹懒偏宜水，花狂不待风), he explicitly mentions bamboo, highlighting its natural inclination towards water: \"Bamboo, at leisure, thrives by the water; flowers, in wild exuberance, do not wait for the wind.\" Lu Zhaolin emphasizes the harmony between bamboo and water, and the unrestrained exuberance of the flowers, which bloom without the prompting of the wind. This imagery captures the pleasant essence of the late spring landscape."@en ; write:transcriptionAndTranslation """No. 1\r Leisurely I stroll in late spring, gazing across fields where all horizons open.\r Floating silk threads drift across the trees; playful butterflies weave chaotically among the bushes.\r Bamboo, at ease, prefers the water; flowers, in wild abandon, bloom without waiting for the wind.\r Only the lingering mood of poetry and wine seems enough to fulfill a lifetime’s longing.\r \r No. 2\r In the countryside, no neighbors in sight; alone I sit, embraced by a garden in spring.\r Orioles sing, not confined to any chosen tree; fish frolic, unafraid of the angler’s line.\r Amid mountains and waters, music is played to its end; wind and flowers inspire frequent toasts of wine.\r These years are already full of joy; such deep delight makes me wish to linger on.\r """@en, """(1)\r 顧步三春晚，田園四望通。\r 遊絲橫惹樹，戲蝶亂依叢。\r 竹懶偏宜水，花狂不待風。\r 唯餘詩酒意，當了一生中。\r \r (2)\r 田家無四鄰，獨坐一園春。\r 鶯啼非選樹，魚戲不驚綸。\r 山水彈琴盡，風花酌酒頻。\r 年華已可樂，高興復留人。"""@zh, """(1)\r 顾步三春晚，田园四望通。\r 游丝横惹树，戏蝶乱依丛。\r 竹懒偏宜水，花狂不待风。\r 唯馀诗酒意，当了一生中。\r \r (2)\r 田家无四邻，独坐一园春。\r 莺啼非选树，鱼戏不惊纶。\r 山水弹琴尽，风花酌酒频。\r 年华已可乐，高兴复留人。\r """@zh, """(1)\r Gù bù sān chūnwǎn, tiányuán sì wàng tōng.\r Yóusī héng rě shù, xì dié luàn yī cóng.\r Zhú lǎn piān yí shuǐ, huā kuáng bùdài fēng.\r Wéi yú shī jiǔyì, dāngle yīshēng zhōng.\r \r (2)\r Tiánjiā wú sìlín, dú zuò yī yuán chūn.\r Yīng tí fēi xuǎn shù, yú xì bù jīng lún.\r Shānshuǐ tánqín jǐn, fēng huā zhuó jiǔ pín.\r Niánhuá yǐ kě lè, gāoxìng fù liú rén."""@zh-Latn . a wd:Q7725634 ; wdt:P1476 "Bamboo in the Rain (雨竹图)"@en, "雨竹图"@zh, "Yǔ zhú tú"@zh-Latn ; wdt:P50 ; write:description "The poem \"Bamboo in the Rain\" was written by the calligrapher and painter Huang Yi 黄易（1744-1802）on his painting \"Bamboo in the Rain\" (Yu zhu tu 雨竹图). Huang Yi, originally from Qiantang 钱塘, lived in Shaoxing 绍兴 for a long time. He was one of the \"Eight Schools of Xiling (Xiling ba jia 西泠八家)\". Together with Xi Gang 奚冈 and Wu Lu 吴履, he was known as one of the \"Three Wonders of Western Zhejiang (Zhe xi san miao 浙西三妙)\", and together with Ding Jing 丁敬, Jiang Ren 蒋仁 and Xi Gang 奚冈, he was also known as one of the \"Four Famous Masters of Hangzhou Commandery (Hang jun si jia 杭郡四家)\". In this poem, Huang Yi reflects on the tranquil and resilient qualities of bamboo under the cleansing rain, using it as a metaphor for purity of spirit and steadfastness. "@en ; write:transcriptionAndTranslation """Rain washes slender bamboo, leaving it vividly green;\r Rustling softly, as if near a riverside pavilion.\r In this world, all things seem without feeling,\r Only autumn’s voice is the sweetest to hear."""@en, """雨洗修篁分外青，萧萧如在过溪亭。\r 世间都是无情物，只有秋声最好听。\r """@zh, """雨洗修篁分外青，蕭蕭如在過溪亭。\r 世間都是無情物，只有秋聲最好聽。"""@zh, """Yǔ xǐ xiū huáng fèn wài qīng, xiāoxiāo rú zàiguò xī tíng.\r Shìjiān dōu shì wúqíng wù, zhǐyǒu qiūshēng zuì hǎo tīng."""@zh-Latn . a wd:Q7725634 ; wdt:P1476 "At Yuqian, Monk’s Green Bamboo Pavilion ( 於潜僧绿筠轩)"@en, " 於潜僧绿筠轩"@zh, "Yú qián sēng lǜ yún xuān"@zh-Latn ; wdt:P50 ; write:description """"At Yuqian, Monk’s Green Bamboo Pavilion" (Yu qian seng lv yun xuan 於潜僧绿筠轩) is a poem by Su Shi 苏轼 (1037—1101), a famous poet, calligrapher, painter, and statesman of the Northern Song dynasty (960–1127). He is also known by his literary name Su Dongpo (苏东坡), and was a central figure of the Song literati culture, celebrated for his talents and philosophical depth.\r "At Yuqian, Monk’s Green Bamboo Pavilion" was composed during one of Su Shi’s travels and reflects his deep appreciation for bamboo as a symbol of resilience, elegance, and the cultivated spirit of the gentleman (junzi 君子). The “Green Bamboo Pavilion” (Lü Yun Xuan 绿筠轩) evokes a tranquil retreat where natural beauty and moral cultivation converge."""@en ; write:hasWikidataResource ; write:transcriptionAndTranslation """One may live without meat, but not without bamboo.\r No meat makes one thin; no bamboo makes one coarse.\r The thin may grow fat again, but the vulgar cannot be cured.\r Others laugh at these words, they seem lofty, or perhaps mad.\r If one still gobbles greedily before the bamboo,\r how could there be any Yangzhou crane in this world?"""@en, """可使食无肉，不可居无竹。\r 无肉令人瘦，无竹令人俗。\r 人瘦尚可肥，俗士不可医。\r 旁人笑此言，似高还似痴。\r 若对此君仍大嚼，世间哪有扬州鹤。"""@zh, """可使食無肉，不可居無竹。\r 無肉令人瘦，無竹令人俗。\r 人瘦尚可肥，俗士不可醫。\r 旁人笑此言，似高還似痴。\r 若對此君仍大嚼，世間哪有揚州鶴。"""@zh, """Kě shǐ shí wú ròu, bùkě jū wú zhú.\r Wú ròu lìng rén shòu, wú zhú lìng rén sú.\r Rén shòu shàng kě féi, sú shì bùkě yī.\r Pángrén xiào cǐ yán, shì gāo hái shì chī.\r Ruò duì cǐjūn réng dà jué, shìjiān nǎ yǒu yángzhōu hè."""@zh-Latn . a wd:Q7725634 ; wdt:P1476 "Bamboo and Rocks (竹石)"@en, "竹石"@zh, "Zhú shí"@zh-Latn ; wdt:P1480 ; wdt:P50 ; wdt:P571 "1740"^^xsd:gYear ; write:description """Bamboo and Rocks is a seven-character quatrain (qiyan jueju 七言绝句) composed by Zheng Xie 郑燮 (1693—1765), also known by his literary name Zheng Banqiao 郑板桥, a renowned calligrapher and painter of the Qing dynasty (1644-1911). Originally from Xinghua 兴化 (in present-day Jiangsu), he served as District Magistrate in Shandong. Renowned for his integrity and sense of justice, he was forced to resign after opposing high-ranking officials on matters of disaster relief. In his later years, he settled in Yangzhou 扬州, where he earned his living through painting and calligraphy. He became one of the renowned “Eight Eccentrics of Yangzhou” (Yangzhou baguai 扬州八怪), a group noted for their unorthodox styles and independent spirit.\r This poem, composed as an inscription for a painting (ti hua shi 题画诗), celebrates the resilience of bamboo rooted in fractured rocks. It vividly evokes bamboo's tenacious vitality and resolute character, making it a symbol of steadfastness and moral strength in the face of adversity."""@en ; write:transcriptionAndTranslation """Firmly gripping the green mountain without letting go, \r Its roots are originally set in fractured rocks.\r Enduring countless hardships and strikes, it remains strong, \r Unaffected by winds from all directions. \r """@en, """咬定青山不放松，立根原在破岩中。\r 千磨万击还坚劲，任尔东西南北风。"""@zh, """咬定青山不放鬆，立根原在破巖中。\r 千磨萬擊還堅勁，任爾東西南北風。"""@zh, """Yǎodìng qīngshān bù fàngsōng, lìgēn yuán zài pò yán zhōng.\r Qiān mó wàn jī hái jiān jìn, rèn ěr dōngxī nánběi fēng."""@zh-Latn . a write:CalliWritingUnit ; wdt:P144 , ; wdt:P180 , , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 , ; sch:thumbnailUrl ; write:attributedTitle "CWU Li Bai’s 'Drink Alone Under the Moon'; 'Raise a Wine Glass to Ask the Sky' (《月下独酌》,《把酒问月》)" ; write:description "This CWU consists of two iconic poems by Li Bai 李白 (701–762): \"Drink Alone Under the Moon\" (Yue xia duzhuo 月下独酌) and \"Raise a Wine Glass to Ask the Moon\" (Ba jiu wen yue 把酒问月). Wang Dongling uses bright red acylic on a six-fold screen of gold leaf to render both texts in his distinctive Chaos Script (luanshu 乱书), a radical, gestural style that abstracts the traditional strokes of Chinese characters into dynamic, expressive forms. The result is almost illegible, flowing lines interwining and overlapping, evoking both the exuberance and the spiritual freedom of Li Bai's verses."@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 182 ; write:transcriptionAndTranslation """A pot of wine among the flowers.\r I drink alone, no friend with me.\r I raise my cup to invite the moon.\r He and my shadow and I make three.\r The moon does not know how to drink;\r My shadow mimes my capering;\r But I'll make merry with them both -\r And soon enough it will be Spring.\r I sing - the moon moves to and fro.\r I dance - my shadow leaps and sways.\r Still sober, we exchange our joys.\r Drunk - and we'll go our separate ways.\r Let's pledge - beyond human ties - to be friends,\r And meet where the Silver River ends.\r (translation by Vikram Seth)"""@en, """How long has the bright moon graced the sky?\r Tonight I set down my cup and ask.\r Man may strive to reach the radiant moon, yet fail;\r Still, she moves on, silently following us below.\r \r She shines, pure as a flying mirror over crimson halls,\r The green mists vanish, and her clear light pours forth.\r At night, I see her rising from the sea’s horizon;\r Who knows where she sinks at dawn among the clouds?\r \r The white rabbit pounds the elixir, autumn after spring;\r Chang’e dwells alone—who shares her lonely home?\r We of today cannot see the moon of ages past,\r Yet this same moon once shone on people long ago.\r \r Ancient and modern pass like flowing water;\r But all gaze at the same bright moon alike.\r Would that as I sing and lift my wine,\r Her light might forever shine into my golden cup.\r (translation by Xu Yuanzhong)"""@en, """《把酒問月》\r 青天有月來幾時？我今停杯一問之。\r 人攀明月不可得，月行卻與人相隨。\r 皎如飛鏡臨丹闕，綠煙滅盡清輝發。\r 但見宵從海上來，寧知曉向雲間沒。\r 白兔搗藥秋復春，嫦娥孤棲與誰鄰？\r 今人不見古時月，今月曾經照古人。\r 古人今人若流水，共看明月皆如此。\r 唯願當歌對酒時，月光長照金樽裡。"""@zh, """《把酒问月》\r 青天有月来几时？我今停杯一问之。\r 人攀明月不可得，月行却与人相随。\r 皎如飞镜临丹阙，绿烟灭尽清辉发。\r 但见宵从海上来，宁知晓向云间没。\r 白兔捣药秋复春，嫦娥孤栖与谁邻？\r 今人不见古时月，今月曾经照古人。\r 古人今人若流水，共看明月皆如此。\r 唯愿当歌对酒时，月光长照金樽里。"""@zh, """《月下独酌》\r 花间一壶酒，独酌无相亲。\r 举杯邀明月，对影成三人。 \r 月既不解饮，影徒随我身。 \r 暂伴月将影，行乐须及春。 \r 我歌月徘徊，我舞影零乱。 \r 醒时同交欢，醉后各分散。 \r 永结无情游，相期邈云汉。"""@zh, """《月下獨酌》\r 花間一壺酒，獨酌無相親。\r 舉杯邀明月，對影成三人。\r 月既不解飲，影徒隨我身。\r 暫伴月將影，行樂須及春。\r 我歌月徘徊，我舞影零亂。\r 醒時同交歡，醉後各分散。\r 永結無情遊，相期邈雲漢。"""@zh, """“Bǎ jiǔ wèn yuè”\r Qīng tiān yǒu yuè lái jǐ shí? Wǒ jīn tíng bēi yī wèn zhī.\r Rén pān míng yuè bù kě dé, yuè xíng què yǔ rén xiāng suí.\r Jiǎo rú fēi jìng lín dān què, lǜ yān miè jìn qīng huī fā.\r Dàn jiàn xiāo cóng hǎi shàng lái, níng zhī xiǎo xiàng yún jiān mò.\r Bái tù dǎo yào qiū fù chūn, Cháng’é gū qī yǔ shuí lín?\r Jīn rén bú jiàn gǔ shí yuè, jīn yuè céng jīng zhào gǔ rén.\r Gǔ rén jīn rén ruò liú shuǐ, gòng kàn míng yuè jiē rú cǐ.\r Wéi yuàn dāng gē duì jiǔ shí, yuè guāng cháng zhào jīn zūn lǐ."""@zh-Latn, """“Yuè xià dúzhuó“\r Huā jiān yī hú jiǔ, dú zhuó wú xiāng qīn.\r Jǔ bēi yāo míng yuè, duì yǐng chéng sān rén.\r Yuè jì bù jiě yǐn, yǐng tú suí wǒ shēn.\r Zàn bàn yuè jiāng yǐng, xíng lè xū jí chūn.\r Wǒ gē yuè pái huái, wǒ wǔ yǐng líng luàn.\r Xǐng shí tóng jiāo huān, zuì hòu gè fēn sàn.\r Yǒng jié wú qíng yóu, xiāng qī miǎo yún hàn."""@zh-Latn . a wd:Q7725634 ; wdt:P1476 "Drink Alone with the Moon (月下独酌)"@en, "月下独酌"@zh, "Yuè xià dúzhuó"@zh-Latn ; wdt:P1480 ; wdt:P50 ; wdt:P571 "0744"^^xsd:gYear ; write:description "\"Drink Alone Under the Moon\" (月下独酌) is a renowned poem by Li Bai 李白 (701-762), acclaimed as one of China’s best-loved poets of the Tang dynasty (618–907) and in Chinese history as a whole. This lyrical masterpiece was composed during the third year of Emperor Xuanzong's Tianbao reign (744), while Li Bai was residing in the capital city of Chang'an. The poem reflects a period of deep frustration for the poet, as his ambitions remained unfulfilled within the rigid confines of officialdom. In response, he turned to wine and the quiet company of the moon and his own shadow, seeking solace and spiritual liberation in the act of drinking alone under the serene night sky."@en ; write:transcriptionAndTranslation """(1) \r A pot of wine among the flowers.\r I drink alone, no friend with me.\r I raise my cup to invite the moon.\r He and my shadow and I make three.\r The moon does not know how to drink;\r My shadow mimes my capering;\r But I'll make merry with them both -\r And soon enough it will be Spring.\r I sing - the moon moves to and fro.\r I dance - my shadow leaps and sways.\r Still sober, we exchange our joys.\r Drunk - and we'll go our separate ways.\r Let's pledge - beyond human ties - to be friends,\r And meet where the Silver River ends.\r (translation by Vikram Seth)"""@en, """(1) \r Amid the flowers, from a pot of wine\r I drink alone beneath the bright moonshine.\r I raise my cup to invite the Moon who blends\r Her light with my Shadow and we're three friends.\r The Moon does not know how to drink her share;\r In vain my Shadow follows me here and there.\r Together with them for the time I stay\r And make merry before spring's spent away.\r I sing and the Moon lingers to hear my song;\r My Shadow's a mess while I dance along.\r Sober, we three remain cheerful and gay;\r Drunken, we part and each may go his way.\r Our friendship will outshine all earthly love,\r Next time we'll meet beyond the stars above.\r (Translation by Xu Yuanzhong)"""@en, """(1) \r 花间一壶酒，独酌无相亲。\r 举杯邀明月，对影成三人。\r 月既不解饮，影徒随我身。\r 暂伴月将影，行乐须及春。\r 我歌月徘徊，我舞影零乱。\r 醒时相交欢，醉后各分散。\r 永结无情游，相期邈云汉。\r \r (2) \r 天若不爱酒，酒星不在天。\r 地若不爱酒，地应无酒泉。\r 天地既爱酒，爱酒不愧天。\r 已闻清比圣，复道浊如贤。\r 贤圣既已饮，何必求神仙。\r 三杯通大道，一斗合自然。\r 但得酒中趣，勿为醒者传。\r \r (3) \r 三月咸阳城，千花昼如锦。\r 谁能春独愁，对此径须饮。\r 穷通与修短，造化夙所禀。\r 一樽齐死生，万事固难审。\r 醉後失天地，兀然就孤枕。\r 不知有吾身，此乐最为甚。\r \r (4) \r 穷愁千万端，美酒三百杯。\r 愁多酒虽少，酒倾愁不来。\r 所以知酒圣，酒酣心自开。\r 辞粟卧首阳，屡空饥颜回。\r 当代不乐饮，虚名安用哉。\r 蟹螯即金液，糟丘是蓬莱。\r 且须饮美酒，乘月醉高台。"""@zh, """(1) \r Huā jiān yī hú jiǔ, dúzhuó wū xiāngqīn.\r Jǔ bēi yāo míngyuè, duì yǐng chéng sān rén.\r Yuè jì bù jiě yǐn, yǐng tú suí wǒ shēn.\r Zàn bàn yuè jiāng yǐng, xínglè xū jí chūn.\r Wǒ gē yuè páihuái, wǒ wǔ yǐng língluàn.\r Xǐng shí xiàng jiāohuān, zuì hòu gè fēnsàn.\r Yǒng jié wúqíng yóu, xiāng qī miǎo yúnhàn.\r \r (2) \r Tiān ruò bù ài jiǔ, jiǔ xīng bùzài tiān.\r De ruò bù ài jiǔ, dì yìng wú jiǔquán.\r Tiāndì jì ài jiǔ, ài jiǔ bùkuì tiān.\r Yǐ wén qīng bǐ shèng, fù dào zhuó rú xián.\r Xián shèng jì yǐ yǐn, hébì qiú shénxiān.\r Sān bēi tōng dàdào, yī dòu hé zìrán.\r Dàn dé jiǔ zhōng qù, wù wèi xǐng zhě chuán.\r \r (3) \r Sān yuè xiányáng chéng, qiānhuā zhòu rú jǐn.\r Shéi néng chūn dú chóu, duì cǐ jìng xū yǐn.\r Qióng tōng yǔ xiū duǎn, zàohuà sù suǒ bǐng.\r Yī zūn qí sǐshēng, wànshì gù nán shěn.\r Zuì hòu shī tiāndì, wù rán jiù gū zhěn.\r Bùzhī yǒu wú shēn, cǐ lè zuìwéi shén.\r \r (4)\r Qióngchóu qiān wàn duān, měijiǔ sānbǎi bēi.\r Chóu duō jiǔ suī shǎo, jiǔ qīng chóu bù lái.\r Suǒyǐ zhī jiǔ shèng, jiǔ hān xīn zì kāi.\r Cí sù wò shǒu yáng, lǚ kōng jī yán huí.\r Dāngdài bù lè yǐn, xūmíng ān yòng zāi.\r Xiè áo jíjīn yè, zāo qiū shì pénglái.\r Qiě xū yǐn měijiǔ, chéng yuè zuì gāotái."""@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Qu Xiaosong 瞿小松" ; wdt:P27 ; wdt:P569 "1952-09-06"^^xsd:date ; wdt:P812 ; wdt:P937 ; write:description "Qu Xiao-Song is a Chinese composer of contemporary classical music. He is a 1983 graduate of the Central Conservatory of Music in Beijing, where he studied composition with Du Mingxin. In 1989 he was invited by the Center for US-China Arts Exchange of Columbia University in New York City to be a visiting scholar, and he continues to live in New York City. He has received commissions from the Holland Festival, American Composers Forum, Hong Kong Chinese Orchestra, and Boston Musica Viva. His operas \"Oedipus\" and \"The Death of Oedipus\" were premiered in 1993 and 1994 respectively, in Stockholm and Amsterdam. His chamber opera \"The Test\" (2004) was commissioned by the Munich Biennale and Contemporary Opera Berlin, and performed in both cities in May 2004."@en ; write:hasCalligraphicTraining "Not present"@en ; write:hasWikidataResource ; write:isComposerOf . a wd:Q464980 ; wdt:P10661 , ; wdt:P1476 "Mit diesen Händen: Moderne chinesischen Malerei und Kalligraphie der Künstler Huang Miaozi und Gu Gan"@de, "With These Hands: Modern Chinese Painting and Calligraphy by Artists Huang Miaozi and Gu Gan"@en ; wdt:P276 , ; wdt:P580 "1992-12-17"^^xsd:date ; wdt:P582 "1993-02-14"^^xsd:date ; wdt:P664 , ; wdt:P856 ; write:description "The exhibition \"With These Hands\" was a joint exhibition by Chinese calligrapher and artist Huang Miaozi and Gu Gan, and was held at the Museum für Ostasiatische Kunst in Cologne from 17th December 1992 to 14th February 1993. This exhibition was one of the earliest major modern Chinese calligraphy exhibitions held in Western countries. Gu Gan's \"Mit diesen Händen\" (With These Hands) represents the most memorable piece from this exhibition . The work was inspired by Heinrich Böll's 1947 poem of the same name, and was created as a contribution to the international Heinrich-Böll-Symposium held in Cologne in 1992. The exhibition itself took its name from the work. "@en ; write:exhibitedArtwork . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , ; write:attributedTitle "CWU Chinese Clothes" ; write:description "This CWU consists of the Chinese character written by Wang Tiande on the silk of a traditional Chinese garment. The artwork features signs such as flowing lines, delicate brushworks, and subtle color variations, all of these are distinctive features of Wang Tiande's style."@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; write:isUnitOf ; write:madeUsingTool , . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Wang Chunchen 王春辰" ; wdt:P27 ; wdt:P569 "1964"^^xsd:gYear ; wdt:P812 ; wdt:P937 , ; write:description "Wang Chunchen is a professor, doctoral supervisor, art historian, art critic, and curator. He graduated from the Central Academy of Fine Arts and currently works at the Art Museum of the Central Academy of Fine Arts (Zhongyang Meishu Xueyuan Meishu guan 中央美术学院美术馆, CAFAM). He specializes in modern art history and contemporary art theory and criticism. In 2012, he was appointed as a special curator by the Broad Art Museum at Michigan State University, where he curated an exhibition on contemporary Chinese art, making him the first curator from mainland China to be hired by an American art museum. Wang Chunchen has authored several books, including \"Art Intervention in Society\" (Yishu jieru shehui 艺术介入社会; 2010), \"The Democracy of Art\" (Yishu de minzhu 艺术的民主; 2013), and \"The Politics of Images\" (Tuxiang de zhengzhi 图像的政治; 2013). He has received awards such as the China Contemporary Art Award (CCAA) Comment Award in 2009. He has also curated numerous exhibitions, both domestically and internationally, such as the fifth exhibition of the itinerant series \"Boundary of Freedom - Chinese Contemporary Ink\" (Ziyou de chidu - Zhongguo dangdai shuimo zouxiang Ouzhou 自由的尺度-中国当代水墨), that explore themes of contemporary Chinese society, culture, and identity. "@en ; write:hasCalligraphicTraining "Not present"@en ; write:hasWikidataResource ; write:isCuratorOf . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P21 ; wdt:P2561 "Yan Yuting 阎玉婷" ; wdt:P27 ; wdt:P937 ; write:description " Yan Yuting served as the curator of the exhibition Boundary of Freedom - Chinese Contemporary Ink towards Europe (自由的尺度-中国当代水墨走向欧洲)."@en ; write:isCuratorOf . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P462 , ; wdt:P9302 ; write:attributedTitle "CWU Facsimile Wang Xizhi (lines)" ; write:description "This CWU consists of repeated character components/linesets arranged sequentially to create intricate ink patterns in the artwork \"Facsimile Wang Xizhi\" by Chen Guangwu. The brush is saturated with ink and ample water, allowing the ink to spread within the composition and produce a highly imaginative visual effect. A continuous line, unbroken from the start to the finish of the composition, mimics the cursive style of Chinese characters. Sinuous and illusionary curve lines and bold connections evokes traditional calligraphy, but it is entirely a product of imagination and does not correspond to reality of the script."@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; write:isUnitOf ; write:madeUsingTool . a wd:Q7725634 ; wdt:P1476 "Reflections on the Moon While Drinking (把酒问月)"@en, "把酒问月"@zh, "Bǎjiǔ wèn yuè"@zh-Latn ; wdt:P1480 ; wdt:P50 ; wdt:P571 "0744"^^xsd:gYear ; write:description """"Reflections on the Moon While Drinking" is a famous poem by Li Bai 李白 (701-762), acclaimed as one of China’s best-loved poets of the Tang dynasty (618–907) and in Chinese history as a whole. This poem was written around 744 (third year of Emperor Xuanzong's Tianbao reign), when Li Bai was in the capital, Chang'an. The poet was experiencing frustration in his officialdom, and was pursuing freedom because his political ideals could not be realized. The poem refers to the Jade Hare *(According to Chinese legend, the Jade Hare keeps company with the lonely Goddess of the Moon).\r \r """@en ; write:transcriptionAndTranslation """How long has the bright moon graced the sky?\r Tonight I set down my cup and ask.\r Man may strive to reach the radiant moon, yet fail;\r Still, she moves on, silently following us below.\r \r She shines, pure as a flying mirror over crimson halls,\r The green mists vanish, and her clear light pours forth.\r At night, I see her rising from the sea’s horizon;\r Who knows where she sinks at dawn among the clouds?\r \r The white rabbit pounds the elixir, autumn after spring;\r Chang’e dwells alone—who shares her lonely home?\r We of today cannot see the moon of ages past,\r Yet this same moon once shone on people long ago.\r \r Ancient and modern pass like flowing water;\r But all gaze at the same bright moon alike.\r Would that as I sing and lift my wine,\r Her light might forever shine into my golden cup.\r (translation by Xu Yuanzhong)"""@en, """青天有月來幾時？我今停杯一問之。\r 人攀明月不可得，月行卻與人相隨。\r 皎如飛鏡臨丹闕，綠煙滅盡清輝發。\r 但見宵從海上來，寧知曉向雲間沒。\r 白兔搗藥秋復春，嫦娥孤棲與誰鄰？\r 今人不見古時月，今月曾經照古人。\r 古人今人若流水，共看明月皆如此。\r 唯願當歌對酒時，月光長照金樽裡。"""@zh, """青天有月来几时？我今停杯一问之。\r 人攀明月不可得，月行却与人相随。\r 皎如飞镜临丹阙 ，绿烟灭尽清辉发。\r 但见宵从海上来 ，宁知晓向云间没 。\r 白兔捣药秋复春，嫦娥孤栖与谁邻？\r 今人不见古时月，今月曾经照古人。\r 古人今人若流水，共看明月皆如此。\r 唯愿当歌对酒时 ，月光长照金樽里。"""@zh, """Qīngtiān yǒu yuè lái jǐshí? Wǒ jīn tíng bēi yī wèn zhī.\r Rén pān míngyuè bùkě dé, yuè xíng què yǔ rén xiāng suí.\r Jiǎo rú fēi jìng lín dān quē, lǜ yān miè jìn qīng huī fā.\r Dàn jiàn xiāo cóng hǎishàng lái, níng zhīxiǎo xiàng yún jiān méi.\r Bái tù dǎo yào qiū fù chūn, cháng'é gū qī yǔ shéi lín?\r Jīn rén bùjiàn gǔ shí yuè, jīnyuè céngjīng zhào gǔrén.\r Gǔrén jīn rén ruò liúshuǐ, gòng kàn míngyuè jiē rúcǐ.\r Wéi yuàn dāng gē duì jiǔ shí, yuèguāng zhǎng zhào jīn zūn lǐ."""@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , ; wdt:P186 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Preface to the Poems Composed at the Orchid Pavilion (《兰亭序》)" ; write:description "This CWU is part of the Visual Artwork \"Preface to the Poems Composed at the Orchid Pavilion\" realized by Chen Guangwu. The artist writes the text of the \"Preface to the Poems Composed at the Orchid Pavilion (Lantingji Xu 兰亭集序)\", considered one of the greatest masterpieces of Chinese calligraphy and written by the renowned Chinese calligrapher Wang Xizhi in 353 ce. "@en ; write:directionality "Free", "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 324 ; write:transcriptionAndTranslation """It is the ninth year of Emperor Mu of Jin's Yonghe era\r The year of the Yin Water Ox,\r At the beginning of the third lunar month,\r We are all gathered at the orchid pavilion in Shanyin County, Guiji Commandery,\r For the Spring Purification Festival.\r All of the prominent people have arrived,\r From old to young.\r This is an area of high mountains and lofty peaks,\r With an exuberant growth of trees and bamboos,\r It also has clear rushing water,\r Reflecting the sunlight as it flows past either side of the pavilion.\r The guests are seated side by side to play the drinking game where a wine cup is floated down the stream and the first person sitting in front of the cup when it stops must drink.\r Although we lack the boisterousness of a live orchestra,\r With a cup of wine here and a reciting of poetry there, it is sufficient to allow for a pleasant exchange of cordial conversations.\r Today, the sky is bright and the air is clear,\r With a gentle breeze that is blowing freely. When looking up, one can see the vastness of the heavens,\r And when looking down, one can observe the abundance of things. The contentment of allowing one’s eyes to wander,\r Is enough to reach the heights of delight for the sight and sound. What a joy.\r Now all people live in this world together,\r Some will take all of their aspirations, and share them in private with a friend;\r Still others will abandon themselves to reckless pursuits.\r Even though everyone makes different choices in life, some thoughtful and some rash,\r When a person meets with joy, he will temporarily be pleased,\r And will feel content, but he is not mindful that old age will soon overtake him.\r Wait until that person becomes weary, or has a change of heart about something,\r And will thus be filled with regrets.\r The happiness of the past, in the blink of an eye,\r Will have already become a distant memory, and this cannot but cause one to sigh;\r In any case, the length of a man’s life is determined by the Creator, and we will all turn to dust in the end.\r The ancients have said, "Birth and Death are both momentous occasions."\r Isn’t that sad!\r Every time I consider the reasons for why the people of old had regrets,\r I am always moved to sadness by their writings,\r And I can not explain why I am saddened.\r I most certainly know that it is false and absurd to treat life and death as one and the same,\r And it is equally absurd to think of dying at an old age as being the same as dying at a young age.\r When future generations look back to my time, it will probably be similar to how I now think of the past.\r What a shame! Therefore, when I list out the people that were here,\r And record their musings, even though times and circumstances will change,\r As for the things that we regret, they are the same.\r For the people who read this in future generations, perhaps you will likewise be moved by these words."""@en, """ 永和九年，\r 歲在癸丑，\r 暮春之初，\r 會于會稽山陰之蘭亭，\r 脩禊事也。\r 群賢畢至，\r 少長咸集。\r 此地有崇山峻領，\r 茂林修竹，\r 又有清流激湍，\r 映帶左右。\r 引以為流觴曲水，列坐其次；\r 雖無絲竹管弦之盛，\r 一觴一詠，亦足以暢敘幽情。\r 是日也，天朗氣清，\r 惠風和暢，仰觀宇宙之大，\r 俯察品類之盛，所以遊目騁懷，\r 足以極視聽之娛，信可樂也。\r 夫人之相與俯仰一世，\r 或取諸懷抱，晤言一室之內；\r 或因寄所托，放浪形骸之外。\r 雖趣舍萬殊，靜躁不同，\r 當其欣于所遇，暫得于己，\r 快然自足，不知老之將至。\r 及其所之既倦，情隨事遷，\r 感慨係之矣。\r 向之所欣，俛仰之間，\r 已為陳迹，猶不能不以之興懷；\r 况修短隨化，終期于盡。\r 古人云﹕「死生亦大矣。」\r 豈不痛哉！\r 每攬昔人興感之由，\r 若合一契，未嘗不臨文嗟悼，\r 不能喻之于懷。\r 固知一死生為虛誕，\r 齊彭殤為妄作。\r 後之視今，亦由今之視昔。\r 悲夫！故列敘時人，\r 錄其所述，雖世殊事異，\r 所以興懷，其致一也。\r 後之攬者，亦將有感於斯文。"""@zh, """永和九年，岁在癸丑，暮春之初，会于会稽山阴之兰亭，修禊事也。群贤毕至，少长咸集。此地有崇山峻岭，茂林修竹；又有清流激湍，映带左右，引以为流觞曲水，列坐其次。虽无丝竹管弦之盛，一觞一咏，亦足以畅叙幽情。\r 是日也，天朗气清，惠风和畅，仰观宇宙之大，俯察品类之盛，所以游目骋怀，足以极视听之娱，信可乐也。\r 夫人之相与，俯仰一世，或取诸怀抱，悟言一室之内；或因寄所托，放浪形骸之外。虽趣舍万殊，静躁不同，当其欣于所遇，暂得于己，怏（同“快”）然自足，不知老之将至。及其所之既倦，情随事迁，感慨系之矣。向之所欣，俯仰之间，已为陈迹，犹不能不以之兴怀。况修短随化，终期于尽。古人云：“死生亦大矣。”岂不痛哉！\r 每览昔人兴感之由，若合一契，未尝不临文嗟悼，不能喻之于怀。固知一死生为虚诞，齐彭殇为妄作。后之视今，亦犹今之视昔。 [8]悲夫！故列叙时人，录其所述，虽世殊事异，所以兴怀，其致一也。后之览者，亦将有感于斯文"""@zh, """Yǒnghé jiǔ nián,\r suì zài guǐ chǒu,\r mùchūn zhī chū,\r huì yú guì jīshān yīn zhī lántíng,\r xiū xì shì yě.\r Qún xián bì zhì,\r shǎo zhǎng xián jí.\r Cǐdì yǒu chóng shān jùn lǐng,\r mào línxiūzhú,\r yòu yǒu qīngliú jī tuān,\r yìng dài zuǒyòu.\r Yǐn yǐ wéi liúshāng qū shuǐ, liè zuò qícì;\r suī wú sīzhú guǎnxián zhī shèng,\r yī shāng yī yǒng, yì zúyǐ chàngxù yōuqíng.\r Shì rì yě, tiān lǎng qì qīng,\r huìfēng hé chàng, yǎng guān yǔzhòu zhī dà,\r fǔchá pǐnlèi zhī shèng, suǒyǐ yóu mù chěng huái,\r zúyǐ jí shìtīng zhī yú, xìn kělè yě.\r Fūrén zhī xiāng yǔ fǔyǎng yīshì,\r huò qǔ zhū huáibào, wù yán yī shì zhī nèi;\r huò yīn jì suǒ tuō, fànglàngxínghái zhī wài.\r Suī qù shě wàn shū, jìng zào bùtóng,\r dāng qí xīn yú suǒ yù, zàn dé yú jǐ,\r kuài rán zìzú, bùzhī lǎo zhī jiàng zhì.\r Jí qí suǒ zhī jì juàn, qíng suí shì qiān,\r gǎnkǎixìzhī yǐ.\r Xiàng zhī suǒ xīn, fǔ yǎng zhī jiān,\r yǐ wèi chénjì, yóu bùnéng bù yǐ zhī xìng huái;\r kuàng xiū duǎn suí huà, zhōng qī yú jìn.\r Gǔrén yún﹕`sǐshēng yì dà yǐ.'\r Qǐ bù tòng zāi!\r Měi lǎn xī rén xìng gǎn zhī yóu,\r ruò hé yī qì, wèicháng bù lín wén jiē dào,\r bùnéng yù zhī yú huái.\r Gù zhī yī sǐshēng wèi xū dàn,\r qí péng shāng wèi wàng zuò.\r Hòu zhī shì jīn, yì yóu jīn zhī shì xī.\r Bēi fū! Gù liè xù shí rén,\r lù qí suǒ shù, suī shì shū shì yì,\r suǒyǐ xìng huái, qí zhì yī yě.\r Hòu zhī lǎn zhě, yì jiāng yǒu gǎn yú sīwén."""@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P1412 , ; wdt:P21 ; wdt:P2561 "Adriano Màdaro" ; wdt:P27 ; wdt:P569 "1941"^^xsd:gYear ; wdt:P570 "2023"^^xsd:gYear ; wdt:P937 ; write:description "Adriano Màdaro was a journalist, sinologist, member of the Permanent Steering Committee of the Academy for International Communication of Chinese Culture and member of the Veneto Center for Studies on Eastern Civilizations at the University of Venice. He organized exhibitions, including \"La Cina segreta – La Città Proibita e 4000 anni di storia cinese (The Secret China - The Forbidden City and 4000 Years of Chinese History)\" which presented China's traditions and modernity to the public."@en ; write:hasCalligraphicTraining "Not present"@en ; write:hasWikidataResource ; write:isCuratorOf . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU Combinations: Balls of Characters (字球)" ; write:description """This CWU consists of characters written by Wang Nanming on his Balls of Characters (Ziqiu 字球).\r The act of rejecting and crumpling the paper distorts and obscures the characters written by the artist, making them illegible. The focus of the artwork is on the form, texture, and overall aesthetic created by the crumpled paper rather than the specific characters themselves. """@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image ; write:isUnitOf ; write:madeUsingTool . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Decode: Digital Design Sensations (编码与解码：国际数字艺术展)"@en, "编码与解码：国际数字艺术展"@zh, "Biānmǎ yǔ jiěmǎ: Guójì shùzì yìshù zhǎn"@zh-Latn ; wdt:P276 , ; wdt:P580 "2010-10-19"^^xsd:date ; wdt:P582 "2010-11-21"^^xsd:date ; wdt:P664 , , ; write:description "The group exhibition \"Decode: Digital Design Sensations\" was organised by the V&A London, in collaboration with onedotzero and held at CAFA Museum in Beijing from October, 19 to November, 21 2010. The exhibition explores three themes. The first theme, 'Code', presents pieces that use computer code to create new designs in the same way a sculptor works with materials such as clay or wood. The second theme, 'Interactivity', looks at designs that are directly influenced by the viewer. The third and final theme, 'Network', focuses on works that comment on and utilise the digital traces left behind by everyday communications, from blogs in social media communities to mobile communications or satellite tracked GPS systems." ; write:exhibitedArtwork . a write:CalliWritingUnit ; wdt:P282 ; wdt:P407 ; wdt:P462 , , , , , ; wdt:P9302 ; sch:thumbnailUrl , ; write:attributedTitle "CWU Not Too Late (晚/lines)" ; write:description """This CWU consists of the vectorised calligraphic lines in the video "Not too late "realized by Feng Mengbo in 2009. \r The artist freely modifies and adapts calligraphy lines, slowing down the speed of the calligraphic process to one-tenth its original speed, revealing the movement trajectory of strokes on screen. These lines gradually evelve into illegible strokes, characters, and calligraphic gestures, resulting in a three-dimensional, abstract, and dynamic calligraphic video. Additionally, the character for "late" (晚, wan) appears several times with free arrangements, such as mirrored and inverted, moving freely to evoke launching missiles."""@en ; write:directionality "Free" ; write:hasBackgroundColour , ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of lines (meaningless)" ; sch:image , ; write:isUnitOf ; write:numberOfCharacters 1 ; write:transcriptionAndTranslation "late"@en, "晚"@zh, """wǎn\r """@zh-Latn ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , ; sch:thumbnailUrl ; write:attributedTitle "CWU Peace (和气)" ; write:description """The Calli-Writing Unit is composed of two Chinese characters: Heqi 和气. Nat used a blue marker to write, in wildstyle and 3D style, the two characters on a white porcelain plate, with arrows and zigzagging lines that perfectly combine a traditional approach with contemporary execution. \r The choice of Heqi 和气 characters stemmed from the fact that decorative motifs in Chinese artistic handicrafts are always linked to auspicious and good luck messages, so they chose to focus the piece on these two characters. Indeed, they are present in a chengyu used as a wish of happiness, which reads "Heqi shengcai 和气生财" (Amiability begets riches). He adds in the piece also some Chinese traditional elements: the decorative “clouds pattern” (yunwen), and the motif of the “turbulent ocean waves” (ping shui) within the central part. Nestled between the lines there are the tags: kwanyin clan, nato and the logo/seal guanyin 观音."""@en ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf , ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:transcriptionAndTranslation "Peace"@en, "和气"@zh, "Héqì"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU The Entire World Celebrates (蹴鞠)" ; write:description "This Calli-Writing Unit is composed of two Chinese characters cuju 蹴鞠 (ancient Chinese football, soccer). Yumi used brush and tempera on leather ball to create an extreme grey and white wildstyle made on commission for Adidas for the 2010 FIFA World Cup advertising campaign. This Calli-Writing Unit is a section of a Taijitu 太极图 painted on a leather football: a curved line divides the ball into two parts and recreates the Daoist symbol par excellence, consisting of the stylized shape of a black and a white fish, intertwining in a whirling embrace. It represents the concept of the Tao (Dao 道), the source of being that regulates the development of the universe through the alternation of two complementary elements: yin 阴, the dark-negative polarity represented by the black fish, and yang 阳, the light-positive polarity represented by the white fish. The two sections of the ball are filled with opposing motifs: this section recalls the Euro-American graffiti tradition and the other the traditional Chinese culture (a taotie), and these intertwine just like Yin and Yang, in a perfect fusion. Since, in the Chinese tradition, football – or cuju 蹴鞠 – evoked a Zen meditative act, the artists instinctively thought of the image of the Taijitu, consisting of the stylised form of two fishes, one white and one black, intertwining with each other, surrounded by the Eight Trigrams. According to FIFA, cuju is the earliest attested form of football in the world, and its invention dates from the Han dynasty (206 BC-220 AD). Initially, it was slightly different from the modern game: there were six holes on each side of the pitch with six goalkeepers, and each team, composed of six players plus the goalkeepers, had to score the highest number of goals. In the Tang dynasty (618-907), the holes turned into two goals on opposite sides of the field and the game resembled the current one. The Eight Trigrams are figures composed of three parallel lines, surrounding the Taijitu with a perfect octagon, each aligned to a cardinal point. The lines can be continuous or broken, indicating positive (yang) or negative (yin) polarity respectively. Each trigram corresponds to a natural element or phenomenon (sky, swamp, fire, thunder, wind, water, mountain and earth), and all together they symbolize the contents of the Book of Changes (Yijing), one of the fundamental texts of traditional Chinese knowledge. The wildstyle within one of the two sections of the ball recalls the linearity of the trigrams. Reference to the World Cup in the image is evident: the two sections of the Taijitu ideally represent the two football teams (the yin and the yang) that share and mix on the same pitch (the circle), thus generating a continuous action (the Tao)."@en ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf , ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:transcriptionAndTranslation "Cuju, ancient Chinese football (soccer)"@en, "蹴鞠"@zh, "Cùjū"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , , , , , , , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Please no graffiti (请勿涂鸦)" ; write:description "This Calli-Writing Unit is composed of four Chinese characters \"Qingwu tuya 请勿涂鸦\", that stand for \"Please no graffiti\", made in 2020 by Li Qiuqiu and Corw in Jingmi Road, Beijing. This is an act of artistic rebellion, a protest against government buffing. After the buffing of the Jingmi Road hall of fame, the government painted a black stencil inscription \"Qingwu tuya 请勿涂鸦 (No graffiti)\". So, Li Qiuqiu and Corw decided to paint the same text, but using bright colours and fun animations so as to brighten the blank wall that had once been the heart of a shared creativity."@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:transcriptionAndTranslation "Please no graffiti"@en, "请勿涂鸦"@zh, """Qǐngwù túyā\r """@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 , ; wdt:P282 ; wdt:P407 , ; wdt:P462 , , , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU My way of playing basketball is born in the street (我的篮球由街头打造 + tags + NIKE)" ; write:description "This Calli-Writing Unit is the inscription in Chinese characters in the top section of the piece and stands as its title: Wo de lanqiu you jietou dazao 我的篮球由街头打造 (My way of playing basketball is born in the street). It recalls the underground street culture of New York’s inner city and of Chinese cities, where playing basketball is a way to hang out with friends. The inscription sets out to connect the place where graffiti art was born, the USA, to the place where it is now developing, China, while obviously referencing the sport that is the subject of the commercial advertising requested by Nike. The characters are written in 3D style, the fill-in color is red with beige inlays, decorations and underlines, and the outline is white with dark green depths. This triumph of colors and decorations underlines the sense of light-heartedness with which the piece is imbued. The writing style is rounded and playful, calling to mind the idea of leisure associated with the theme of the graffiti. Inside one of the buds, right in the center of the work, stands the inscription “Nike” and, below it, the three tags of the authors of the piece (0528, Soos and More) and that of BJPZ."@en ; write:directionality "Modern" ; write:hasBackgroundColour , , ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf , ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 9 ; write:transcriptionAndTranslation "My way of playing basketball is born in the street"@en, "我的篮球由街头打造"@zh, """Wǒ de lánqiú yóu jiētóu dǎzào\r """@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 , ; wdt:P282 ; wdt:P407 , ; wdt:P462 , , , , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU R.I.P. 512 Sichuan Earthquake (众支(志)成城 + tags + 512)" ; write:description """This Calli-Writing Unit is composed of four Chinese characters on the left-hand corner, in which a chengyu (a four-character idiomatic phrase) reads Zhongzhichengcheng 众 支（志）成城 (Unity is Strength). This is an incitement not to be discouraged even in the darkest moments, but to work together to face the immense catastrophe and find the strength to recover. The four characters composing the chengyu fade from red to yellow on a black background, and their style resembles the running or semi-cursive script (xingshu 行书) used in Chinese calligraphy, in which the character strokes are joined together by a single quick stenographic stroke. Its thickness varies constantly, its shapes are rounded, and the beginnings of lines are evident and allow the public to mentally retrace the agitated rhythm of this spray “brushstroke”. Altogether it reproduces the upheaval and brutality of the event. The gestures and poses of the figures portrayed next to the written portion echo the agitation of such moments. \r The 3D style number 512 completes the work and stands for the date of the catastrophe, which occurred on the 12th of May. The fill-in colour is red, like the blood that was spilled, while the black depth represents the darkness of the catastrophe, and the yellow outline is a longed for glimmer of light highlighting the importance of the number. At the top of the work there are the artists’ signatures: from left to right we find the names BJPZ Crew in blue, followed by SOOS in black, 0528 in red, and MORE in yellow. On the left side, there is one last inscription on the protruding edge of the wall: Jinian Sichuan 纪念四川 (Commemorate Sichuan). The highly graphic cursive style with which Soos created this element, repeated in the penzi 喷子 (writer) characters situated vertically below it, recalls the zigzagging of the seismograph waves reproduced to the side, and stands as a reminder of the earthquake."""@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf , ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:transcriptionAndTranslation "Unity is Strength"@en, "众志成城"@zh, "Zhòngzhìchéngchéng"@zh-Latn . a wd:Q7725634 ; wdt:P1476 "On Bamboo (竹)"@en, "竹"@zh, "Zhú"@zh-Latn ; wdt:P50 ; write:description "The author of this poem is Zheng Xie 郑燮 (1693-1765), commonly known by his pseudonym as Zheng Banqiao 郑板桥, a famous poet, painter and calligrapher of the Qing Dynasty (1644-1911). He was particularly able to draw bamboos and his unique technique usually combines painting and calligraphy. According to the content of this poem, in his paintings, the bamboo trunks, stems and leaves are usually lean but strong, so embodying the playfulness and spontaneity of a \"man of letters\" (junzi 君子). The couplet by Zheng Xie is paraphrased from the third and fourth lines of another poem composed by the Song poet Xu Tingyun 徐庭筠 (1095-1179) entitled Ode to Bamboo (Yong zhu 咏竹). "@en ; write:transcriptionAndTranslation """Buried in the earth it already has a culm,\r reaching into the sky it is still open-minded.\r (Translator: Shinewind 2012)"""@en, """未出土时先有节, \r 及凌云处尚虚心"""@zh, """Wèi chūtǔ shí xiān yǒu jié, \r jí língyún chù shàng xūxīn."""@zh-Latn . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , , , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle """CWU Raising Hope (托起希望 + tags)\r """ ; write:description "This Calli-Writing Unit is composed of four Chinese characters \"Tuoqixiwang 托起希望\" (Raising Hope). This Calli-Writing Unit is a wild style renderings of the four characters of the title inspired by a chengyu \"Raising Hope\". The writing style is very edgy and basic, consisting of one or two fill-in colors spread evenly, a single outline, and only occasionally a hint of 3D. The result is somewhat “rigid” and reveals the embryonic state of ANDC personal stylistic research, centered on the attempt to reshape Chinese writing by imitating American styles. The artwork was produced in memory of the Sichuan earthquake of 12 May 2008, which claimed approximately seventy thousand victims. Around the main piece there are 3 orange tags and the year of the execution \"2009\"."@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine false ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf , ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:transcriptionAndTranslation "Raising Hope"@en, "托起希望"@zh, "Tuōqǐxīwàng"@zh-Latn . a wd:Q7725634 ; wdt:P1476 "Ode to Bamboo (咏竹)"@en, "咏竹 "@zh, "Yǒng zhú"@zh-Latn ; wdt:P50 ; write:description "The author of the poem is the Song poet Xu Tingyun 徐庭筠 (1095-1179). This poem is inspired by the bamboo. The bamboo symbolizes the qualities of the perfect literati (junzi 君子). "@en ; write:transcriptionAndTranslation """ No matter what the terrace or the mountains, \r I love you more than a thousand acres of shade.\r Before they emerge from the earth, they have a knack for it, \r and even when they leave the clouds, they have no heart.\r The Ge Pei has been transformed with the dragon, \r the valley with the phoenix.\r The moon is clear, the wind is clear, and the night is eternal, \r and the prince is alone in knowing his voice."""@en, """不論臺閣與山林，\r 愛爾豈惟千畝陰。\r 未出土時先有節，\r 便凌雲去也無心。\r 葛陂始與龍俱化，\r 嶰谷聊同鳳一吟。\r 月朗風清良夜永，\r 可憐王子獨知音。\r """@zh, """Bùlùn tái gé yǔ shānlín, \r ài ěr qǐ wéi qiānmǔ yīn. \r Wèi chūtǔ shí xiān yǒu jié, \r biàn língyún qù yě wúxīn. \r Gé bēi shǐ yǔ lóng jù huà, \r xiè gǔ liáo tóng fèng yī yín. \r Yuè lǎng fēng qīng liángyè yǒng, \r kělián wángzǐ dú zhīyīn."""@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P1412 , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Olivia Kwong" ; wdt:P27 ; wdt:P453 ; wdt:P812 ; wdt:P856 ; wdt:P937 , , ; write:description """Born and grow up in Hong Kong. Graduated from the Hong Kong Academy for Performing Arts in 2003, Major in Chinese Dance and Choreography. She is aqQualified teacher of the Beijing Dance Academy Chinese Dance Graded Examination and a certified teacher of the Progressing Ballet Technique. She is now working as a freelance choreographer, dancer, improviser & dance teacher.\r During the time in the HKAPA, she received the Hong Kong Bank Foundation Hong Kong - Mainland Exchange Scholarship in 2001, to have her further studies in the Sichun Dance Academy (China) and cai feng in Sichun (China). With her journal during the time in Sichun, she received the Gold Medal of the Hong Kong Award for Young People, which has honourably awarded by the 1st and 2nd Chief Executive of the Hong Kong (S.A.R) - Mr. Chee-Hwa Tung (GBM) at the Government House. In 2003, she received the same scholarship to Sichun again for the 7th Tao Li Bei National Dance Competition (China), and won the 2nd place of Performance (Group) with the choreography of Pik-Yim Yu - "Life?". She has also represented the Academy to perform several times in Macau, Singapore, Sichun... etc. After graduated, Olivia joined the Odyssey Dance Theatre (Singapore) in April 2004 as a full time dancer.\r She has also participated in the Hong Kong Dance Company as a project dancer, including the performances of:\r In 2006, "Red Poppies", by one of the national levelled choreographer in China - Ling-Li Liu.\r In 2007, she followed the company to tour in China, including the performances of "Red Poppies" in the 8th China Art Festival in Wuhan, and "Qing Ming Riverside" in Hanzhou, Nanjing and the 5th Beijing International Dance Festival in Beijing.\r In 2003, with Simona Chan, Ho-Ting Chan, Peggy Chu and Cecilia Tang, they formed and registered a dance group "Informal Space" in Hong Kong, and were invited to perform their choreography, "Qi Cui Gu Dong - Korean Long Drum Dance" in the Hong Kong Dance Awards 2005.\r In 2008, she created her own dance company “S.O.S. (Space of Olivia’s Style) Dance Company”, and has successfully performed in several events and dance festivals in Italy (Milan, Bologna, Rieti, Jesolo, Bicocca... etc).\r On 08 June 2010, this company has successfully registered as a society in Hong Kong, known as "S.O.S. Dance".\r By her special way in choreographing Contemporary Chinese Dance, Olivia represented "Enemy" and won her first Choreography Award (her students won the Honours Award of Performance - Contemporary dance section) in the 40th Hong Kong School Dance Festival.\r With another of her wonderful choreography "Because of … YOU - Painting", she won the 1st place of choreography in the 18th International Dance Competition (Rieti Dance Festival 2008), Italy.\r In 2010, Olivia was invited to perform and give a Chinese Dance Workshop in the Venice Oriental Dance Convention 2010.\r With a great honour, Scuola di Danza Schininà – Vecchi (directed by former principal dancers of Teatro San Carlo - Naples, Italy) has invited her to be one of the juries for their school's final exam in June 2010.\r She has also choreographed for the play “An Angel in the Slums” (and as a main actress), which has successfully performed in Rome and New York for the International Arts Festival on Spirituality (Divinamente Roma & New York 2011).\r """@en ; write:hasCalligraphicTraining "Not present"@en . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Journey Towards the Spring of Italy - A Journey of a Thousand Miles Begins with a Single Step (千里心行始于足下)" ; write:description "This CWU is part of the performance \"Journey Towards the Spring of Italy - A Journey of a Thousand Miles Begins with a Single Step (千里心行始于足下). It is composed of the eight black characters written on white paper in regular style. The characters were hung on a wire at the back of the stage."@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 8 ; write:transcriptionAndTranslation " A Journey of a Thousand Miles Begins with a Single Step "@en, "千里心行始于足下"@zh, "Qiānlǐ xīn xíng shǐ yú zúxià"@zh-Latn ; write:vectorisedOrDigitised false . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Yuanyuan Armchair - Ease (逸)" ; write:description "This CWU is composed of the shapes of the \"Yuanyuan armchair - Ease\", that are inspired by the lines of the calligraphic transcription of the character Yi 逸 (Ease) in running script. Even though the character is no longer or not easily recognizable, the strong dynamism of its strokes remains and is accentuated by the three-dimensionality of the object."@en ; write:directionality "Unidentifiable" ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; write:isUnitOf ; write:numberOfCharacters 1 ; write:transcriptionAndTranslation "Ease"@en, "逸"@zh, "Yi"@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Heart Sutra (《心经》)" ; write:description "This CWU is part of the artwork \"Heart Sutra\" (心经) which Silvio Ferragina created in Milan in 2016. The characters are all those of the Heart Sutra, 268 in total and are made in seal script. The four fundamental characters that emerge very large are precisely \"sè bù yì kōng 色不異空\" which highlight the formulation of the doctrine of \"emptiness\" (or literally: \"emptiness\") or the insubstantiality (or intrinsic non-existence) of all phenomena."@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:transcriptionAndTranslation """When Avalokiteshvara Bodhisattva was practicing the profound prajnaparamita, he illuminated the five skandhas and saw that they are all empty, and he crossed beyond all suffering and difficulty.\r Shariputra, form does not differ from emptiness; emptiness does not differ from form. Form itself is emptiness; emptiness itself is form. So, too, are feeling, cognition, formation, and consciousness.\r Shariputra, all dharmas are empty of characteristics. They are not produced. Not destroyed, not defiled, not pure, and they neither increase nor diminish.\r Therefore, in emptiness there is no form, feeling, cognition, formation, or consciousness; no eyes, ears, nose, tongue, body, or mind; no sights, sounds, smells, tastes, objects of touch, or dharmas; no field of the eyes, up to and including no field of mind-consciousness; and no ignorance or ending of ignorance, up to and including no old age and death or ending of old age and death. There is no suffering, no accumulating, no extinction, no way, and no understanding and no attaining.\r Because nothing is attained, the Bodhisattva, through reliance on prajna paramita, is unimpeded in his mind. Because there is no impediment, he is not afraid, and he leaves distorted dream-thinking far behind. Ultimately Nirvana!\r All Buddhas of the three periods of time attain Anuttarasamyaksambodhi through reliance on prajnaparamita. Therefore, know that prajna paramita is a great spiritual mantra, a great bright mantra, a supreme mantra, an unequaled mantra. It can remove all suffering; it is genuine and not false. That is why the mantra of prajna paramita was spoken. Recite it like this:\r Gate gate paragate parasamgate bodhi svaha!\r Gate gate paragate parasamgate bodhi svaha!\r Gate gate paragate parasamgate bodhi svaha!\r (Translator: Tang Dharma Master of the Tripitaka Hsüan)"""@en, " 觀自在菩薩，行深般若波羅蜜多時，照見五蘊皆空，度一切苦厄。舍利子！色不異空，空不異色；色即是空，空即是色，受想行識亦復如是。舍利子！是諸法空相，不生不滅，不垢不淨，不增不減。是故，空中無色，無受想行識；無眼耳鼻舌身意；無色聲香味觸法；無眼界，乃至無意識界；無無明，亦無無明盡，乃至無老死，亦無老死盡；無苦集滅道；無智亦無得。以無所得故，菩提薩埵。依般若波羅蜜多故，心無罣礙；無罣礙故，無有恐怖，遠離顛倒夢想，究竟涅槃。三世諸佛，依般若波羅蜜多故，得阿耨多羅三藐三菩提。故知：般若波羅蜜多是大神咒，是大明咒，是無上咒，是無等等咒，能除一切苦，真實不虛。故說般若波羅蜜多咒，即說咒曰：揭諦揭諦，波羅揭諦，波羅僧揭諦，菩提薩婆訶。"@zh, "Guān zìzài púsà, xíng shēn bōrě bōluómì duō shí, zhàojiàn wǔyùn jiē kōng, dù yīqiè kǔ è. Shèlì zi! Sè bù yì kōng, kōng bù yìsè; sèjíshìkōng, kōngjíshìsè, shòu xiǎng xíng shí yì fù rúshì. Shèlì zi! Shì zhū fǎ kōng xiāng, bù shēng bùmiè, bù gòu bù jìng, bù zēng bù jiǎn. Shì gù, kōngzhōng wúsè, wú shòu xiǎng xíng shí; wú yǎn ěrbí shé shēn yì; wúsè shēng xiāngwèi chù fǎ; wú yǎnjiè, nǎizhì wúyìshí jiè; wú wúmíng, yì wú wúmíng jǐn, nǎizhì wú lǎosǐ, yì wú lǎosǐ jǐn; wú kǔ jí miè dào; wú zhì yì wú dé. Yǐ wú suǒdé gù, pútí sà duǒ. Yī bōrě bōluómì duō gù, xīn wú guà ài; wú guà ài gù, wú yǒu kǒngbù, yuǎnlí diāndǎo mèngxiǎng, jiùjìng nièpán. Sānshì zhū fú, yī bōrě bōluómì duō gù, dé ā nòu duō luó sān miǎo sān pútí. Gùzhī: Bōrě bōluómì duō shì dàshén zhòu, shì dàmíng zhòu, shì wú shàng zhòu, shì wú děng děng zhòu, néng chú yīqiè kǔ, zhēnshí bù xū. Gù shuō bōrě bōluómì duō zhòu, jí shuō zhòu yuē: Jiē dì jiē dì, bō luó jiē dì, bō luó sēng jiē dì, pútí sà pó hē."@zh-Latn . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P407 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU New Poems Series - Guarantee (lines)" ; write:description "This CWU consists of the transcription of free verses in vernacular language in a horizontal, left-to-right manner, completely unconventional in Chinese calligraphy. Characters become unrecognizable." ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasColophon false ; sch:image ; write:isUnitOf ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Word Series - Three one three ten one (三一三十一)" ; write:description "The text of this CWU written by Qiu Zhenzhong consists of all the polysyllabic words (trisyllabic or quadrisyllabic) derived from the Sanjiao 三角 ('triangle') section of the 'Comprehensive Dictionary of the Chinese Language' (Hanyu Dà Cídiăn 汉语大词典). Qiu adopts a horizontal and free disposition of Chinese characters, departing from traditional calligraphic norms. " ; write:hasBackgroundColour ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 5 ; write:transcriptionAndTranslation """Three one three ten one\r \r triangle ruler, set square, triangle maple, triangle eyes, triangle stand, bougainvillea, river delta, triangular groove, triangle iron, triangle-shaped underwear"""@en, """三一三十一\r \r 三角尺、三角板、三角枫、三角眼、三角架、三角梅、三角洲、三角槽、三角铁、三角裤."""@zh, """sān yī sān shí yī\r \r sānjiǎo chǐ, sānjiǎo bǎn, sānjiǎo fēng, sānjiǎo yǎn, sānjiǎo jià, sānjiǎo méi, sānjiǎo zhōu, sānjiǎo cáo, sānjiǎo tiě, sānjiǎo kù."""@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P186 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU Signatures Series - Diary (邱振中...)" ; write:description "The CWU of the artwork Signatures Serie consists of the name of the artist (Qiu Zhenzhong), his grandmother's name, or other phrases repetitively on the same sheet every day. The arrangement of elements is entirely random, exploring themes of repetition and ritual." ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 3 ; write:transcriptionAndTranslation "Qiu Zhenzhong, [...]"@en, "邱振中, [...]"@zh, "Qiū Zhènzhōng, [...]"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU Characters to Be Deciphered No. 8 (signs)" ; write:description "This CWU consists of a set of illegible signs inspired by undeciphered writing systems." ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)", "Set of signs (illegible)" ; sch:image ; write:isUnitOf ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , , ; sch:thumbnailUrl ; write:attributedTitle "CWU Red Bull Dragon (RED BULL)" ; write:description "This Calli-Writing Unit features the yellow \"Red Bull\" inscription, created in an elaborate wild style with 3D rendering. At the center of the piece is the face of a red dragon, depicted according to traditional Chinese iconography, and two chicken legs harpooning the inscription and a shiny pearl. The colors used in the graffiti – the yellow writing and the red dragon – are reminiscent in the Red Bull logo depicted at the top left-hand corner of the piece. The blue background evokes the idea of ice smashed by the might of the dragon, as well as the glacial and snowy landscape that frames the scene. It also references the color of the Red bull can. The horizontal progression of the writing and its rounded edges recall the shape of a snowboard, which served as the basis for the sketch of the piece."@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine false ; write:hasColophon false ; write:hasGraffitiStyle , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf , ; write:isUnitOf ; write:madeUsingTool ; write:transcriptionAndTranslation "Red Bull"@en . a write:CalliWritingUnit ; wdt:P186 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU Void - Flow (lines)" ; write:description "This CWU consists of the lines constructions of wood of the installation \"Void - Flow\" measuring 6×2.5×1.2 meters. The uniqueness of the piece lies in the deflection of its components, which creates a twist between lines and surfaces, setting it apart in both structural principle and visual effect from existing works. It explores spatial continuity and the twisting of lines, offering an innovative experience." ; write:hasBigCharactersCalligraphy false ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; sch:image ; write:isUnitOf . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Atlas: Harmony in Diversity (Venice Biennale 2024 - China Pavillion)"@en ; wdt:P276 ; wdt:P580 "2024-04-20"^^xsd:date ; wdt:P582 "2024-11-24"^^xsd:date ; wdt:P856 ; write:description """The "Atlas: Harmony in Diversity" exhibition at the Venice Biennale 2024 - China Pavilion was featured by China's National Participation and co-curated by Professor Wang Xiaosong from Zhejiang University and independent curator Jiang Jun. The exhibition connects the past and present art of a country with a rich and ancient tradition. The exhibition is set in the large spaces of the cisterns, divided into two sections: Union and Heritage.\r - Union: This section displays documents and images from "A Comprehensive Collection of Ancient Chinese Paintings". It features 100 paintings from various past dynasties, which are found overseas. These works are shown in cabinets and on LED screens. "A Comprehensive Collection of Ancient Chinese Paintings" is a project that took almost 19 years to complete, gathering 12,405 pieces of ancient Chinese paintings, including over 3,000 pieces from institutions outside China. Hence the name Atlas for the exhibition, signifying a comprehensive collection. As an anthology of art, cultural relics, and knowledge, this exhibition emphasizes the global convergence of diversity: identities, races, beliefs, concepts, purposes, media, backgrounds, and cultures.\r - Heritage: This section highlights the work of seven contemporary Chinese artists: Che Jianquan, Jiao Xingtao, Shi Hui, Qiu Zhenzhong, Wang Shaoqiang, Wang Zhenghong, and Zhu Jinshi. These artists created new works inspired by the ancient collection, using various elements like architecture, landscapes, figures, flowers, and birds. Their creations form a harmony between old and new art, blending the past with contemporary styles.\r Overall, the exhibition showcases how ancient Chinese art continues to influence and inspire modern artists, creating a dialogue between history and present-day creativity.""" ; write:exhibitedArtwork . a write:CalliWritingUnit ; wdt:P186 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU Status (lines)" ; write:description "This CWU consists of the black lines crafted from metallic materials to realize Sculpture by Qiu Zhenzhong in 2024. Sinuous and undulating lines twis, loop and interwine in a complex system. Lines vary in thickness creating a sense of depth and movement and create a three-dimensional form evoking the lines of traditional Chinese calligraphy." ; write:hasBackgroundColour , ; write:hasBigCharactersCalligraphy false ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; sch:image ; write:isUnitOf . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Tang Kaizhi 唐楷之" ; wdt:P27 ; wdt:P569 "1971"^^xsd:gYear ; wdt:P800 ; wdt:P812 ; wdt:P937 ; sch:thumbnailUrl ; write:description "Tang Kaizhi was born in Guangxi in 1971 and is currently based in Shanghai. His work encompasses ink painting, blending traditional techniques with a contemporary perspective to create a unique artistic language." ; write:hasCalligraphicTraining "Academic"@en ; sch:image . a write:CalliWritingUnit ; wdt:P144 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Qian (千)" ; write:description "This CWU consists of the one thousand characters repeatedly written by Tang Kaizhi in his piece “Thousand.\" The inspiration comes from the \"Thousand Character Classic\" (Qian zi wen 千字文), a famous text used for learning Chinese characters throughout Chinese history, renowned for its thousand unique characters, each appearing only once. In contrast, Tang Kaizhi's work involves the repetition of the same character (Qian 千) one thousand times, creating a unique and innovative interpretation." ; write:directionality "Traditional" ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of lines (meaningless)" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 1000 ; write:transcriptionAndTranslation "one thousand"@en, "千"@zh, "qiān"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Dream of flowers, plants, and the three ages of the world in Suzhou (三生花草梦苏州)" ; write:description "This CWU consists of the characters written by Huang Miaozi in seal script in the artwork \"Dream of flowers, plants, and the three ages of the world in Suzhou\"." ; write:hasBackgroundColour , , , , , ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 7 ; write:transcriptionAndTranslation "Dreaming of flowers, plants, and the three ages of the world in Suzhou "@en, "三生花草夢蘇州"@zh, "三生花草梦苏州"@zh, "Sān shēng huācǎo mèng sūzhōu"@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU A Poem by Li Bai (Through the Yangze Gorge) (早发白帝城）" ; write:description """This CWU is composed of two lines of the poem "Through the Yangze Gorge" (Zao fa bai di cheng 早发白帝城) by the famous Tang poet Li Bai (701-762). The poem describes the poet's journey back home across the Yangtze River after a period of exile. The disposition of the characters of the poems are very pictorial in their composition, shaping a typical Chinese landscape painting. The first eight characters for the river banks, the monkey, and their calling are aligned along an incline and are drawn unevenly, as if they really are on the far bank of the river. The small characters appear suspended in the distance, mimicking a location deep in far mountains. The three characters of "ten thousand mountains" (萬重山) stand firm and upright in the foreground, as if on the near bank. The other three characters which mean "my boat has already sped" (舟已過) are written much smaller and placed between the two river banks, like boats loawing quickly and unimpeded on the Yangze River. Thus, the image, essentially pictorial in structure, is organically united with that of the poem.\r """@en ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 14 ; write:transcriptionAndTranslation """While the monkeys vainly hail me from both banks,\r My boat has already sped ten thousand mountains away. \r (Translated by Zhang Yiguo and Harry Miller)"""@en, """两岸猿声啼不住，\r 轻舟已过万重山。"""@zh, """兩岸猿聲啼不住 ，\r 輕舟已過萬重山 。"""@zh, """Liǎng'an yuánshēng tí bùzhù,\r qīngzhōu yǐguò wànchóngshān.\r """@zh-Latn . a wd:Q464980 ; wdt:P10661 , , ; wdt:P1476 "The Spirit: Invitational Exhibition of Chinese Calligraphic Art and Art Gallery Opening (神采书象艺术邀请展暨珠海京百年艺术馆开馆 )"@en, "神采书象艺术邀请展暨珠海京百年艺术馆开馆"@zh, "Shéncǎi shūxiàng yìshù yāoqǐng zhǎn jì Zhūhǎi Jīng Bǎi Nián yìshù guǎn kāi guǎn"@zh-Latn ; wdt:P1640 ; wdt:P276 ; wdt:P580 "2024-03-09"^^xsd:date ; wdt:P582 "2024-05-31"^^xsd:date ; write:description "The exhibition was hosted by the Jing Bai Nian Art Gallery in Zhuhai from 9th March to 31st May, and hosted by the Jing Bai Nian Art Gallery. The event was organized by Zhuhai Jing Bai Nian Culture and Art Co., Ltd., and curated by Wang Yong 王勇, with assistance from Lin Cuihua 林催华 and Tin Hioman (田晓文). The exhibition features works by artists Pu Lieping, An Dong, Zhou Hanbiao, Wei Ligang, Chen Qiuzhi, Wang Xiaoming, Wang Yong, and Yuan Yehao. " . a wd:Q7725634 ; wdt:P1476 "Analects"@en ; wdt:P50 ; write:description """The Analects, also known as the Sayings of Confucius, is an ancient Chinese philosophical text composed of sayings and ideas attributed to Confucius and his contemporaries, traditionally believed to have been compiled by his followers. The consensus among scholars is that large portions of the text were composed during the Warring States period (475–221 BC), and that the work achieved its final form during the mid-Han dynasty (206 BC – 220 AD). During the early Han, the Analects was merely considered to be a commentary on the Five Classics. However, by the dynasty's end the status of the Analects had grown to being among the central texts of Confucianism.\r During the late Song dynasty (960–1279 AD) the importance of the Analects as a Chinese philosophy work was raised above that of the older Five Classics, and it was recognized as one of the "Four Books". The Analects is one of the most widely read and studied books in China for more than two millennia; its ideas continue to have a substantial influence on East Asian thought and values.\r Confucius believed that the welfare of a country depended on the moral cultivation of its people, beginning from the nation's leadership. He believed that individuals could begin to cultivate an all-encompassing sense of virtue through ren, and that the most basic step to cultivating ren was filial piety—primarily the devotion to one's parents and older siblings. He taught that one's individual desires do not need to be suppressed, but that people should be educated to reconcile their desires via li, rituals and forms of propriety, through which people could demonstrate their respect for others and their responsible roles in society. Confucius also believed that a ruler's sense of de, or 'virtue', was his primary prerequisite for leadership. His primary goal in educating his students was to produce ethically well-cultivated men who would carry themselves with gravity, speak correctly, and demonstrate consummate integrity in all things."""@en ; write:hasWikidataResource . a wd:Q7725634 ; wdt:P1476 "Through the Yangze River (Leaving the White King's Town at Dawn) (早发白帝城)"@en, "早发白帝城"@zh, "Zǎo fā bái dì chéng"@zh-Latn ; wdt:P50 ; wdt:P571 "0759"^^xsd:gYear ; write:description """Li Bai wrote this poem when he was sailing back home on the Yangtze River, after he was released from his exile. In 755 AD, when a rebellion against the government led to the abdication of Emperor Xuanzong, Li Bai sided with Prince Lin, the emperor’s 16th son, who fought for the throne. However, after Lin was defeated and executed, Li Bai was exiled to Yelang and only a year later, when Emperor Xuanzong died, Li Bai was pardoned and could return home.\r The tone of this poem is carefree and optimistic, depicting Li Bai’s happiness as he departs from his place of exile. Whereas clouds are typically gray and represent a rainy or foggy day, the imagery of rosy clouds at dawn sets a glowing and beautiful atmosphere. The juxtaposition of the words “千” (thousand) and “一” (one) also reveals Li Bai’s enthusiasm: instead of focusing on on the thousands of meters it will take to reach his destination, he emphasizes the short length of time it will take for him to return. Furthermore, the apes, which signify his adversaries, call out endlessly and attempt to stop him on his path back home; however, he appears unaffected by the chaos and noise — his light boat easily passes through the two shores. The term “轻” not only signifies the lightness of his boat, but also represents his light-hearted feelings as he leaves behind the ten-thousand layers of mountains, the burdens of his past.""" ; write:hasWikidataResource ; write:transcriptionAndTranslation """Leaving at dawn the White King crowned with rainbow cloud,\r I have sailed a thousand miles through Three Gorges in a day.\r With monkeys’ sad adieus the riverbanks are loud;\r My boat has left ten thousand mountains far away.\r (Translated by Xu Yuanchong)"""@en, """朝辞白帝彩云间，\r 千里江陵一日还。\r 两岸猿声啼不住，\r 轻舟已过万重山。 """@zh, """朝辭白帝彩雲間，\r 千里江陵一日還。\r 兩岸猿聲啼不住，\r 輕舟已過萬重山。"""@zh, """Zhāo cí bái dì cǎiyún jiān,\r qiānlǐ jiānglíng yí rì huán,\r Liǎng’àn yuán shēng tí bú zhù,\r qīngzhōu yǐguò wàn chóngshān."""@zh-Latn . a wd:Q17514 ; wdt:P1476 "No graffiti (stencil)"@en, "请勿涂鸦"@zh, "Qǐngwù túyā"@zh-Latn ; wdt:P186 , ; wdt:P276 ; wdt:P462 ; wdt:P6375 "Jingmi Road, Beijing"@en ; wdt:P88 ; write:description "This is the black stencil Qingwutuya 请勿涂鸦 “No graffiti” affixed by the Chinese government on the Jingmi Road hall of fame in 2020. The stencil inspired the work of the same name by Li Qiuqiu and Corw, which sought to reclaim the space for graffiti artists."@en ; write:hasChengyu false ; write:hasColophon false ; write:hasGraffitiGenre ; write:hasGraffitiStyle , ; write:hasGraffitiType ; write:hasSeal false ; write:madeUsingTool , . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "First exhibition of the School of Academics"@en ; wdt:P1640 ; wdt:P276 ; wdt:P580 "1997"^^xsd:gYear ; wdt:P582 "1997"^^xsd:gYear ; write:description "This exhibition represents the inaugural group showcase of the 'School of Academics,' a movement established by Chen Zhenlian (陈振廉) in 1994. It took place in Korea in 1997, followed by a series of shows in China in 1998, initially in Beijing and subsequently in Hangzhou. Notable members of the 'School of Academics' (学院派, xueyuanpai) include artists Zhang Yuxiang, Chen Guobin, Chen Dazhong, Lü Jinzhuang, Wang Yongjiang, and Cai Mengxia (蔡梦霞), who is also the sole female calligrapher in the group." ; write:exhibitedArtwork . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P407 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU Red and Gold Age (木)" ; write:description "This CWU consists of the reiteration of the pictographic character for tree (mu 木) in seal style." ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; sch:image ; write:isUnitOf ; write:madeUsingTool . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P1412 ; wdt:P21 ; wdt:P2561 "Paul Liu" ; wdt:P937 ; write:description "Professor at the Central Academy of Fine Arts in Beijing. " ; write:isDesignerOf . a write:CalliWritingUnit ; wdt:P180 , , , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 , , , , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Love Writing 98-18 (signs)" ; write:description """This CWU consists of the graphic signs which form the visual structure of the oil painting in "Love Writing 98-18" (1998). Although these signs may initially resemble traditional Chinese calligraphy, but they are actually abstract and stylized forms inspired by ancient scripts, particularly the ancient bronze script (jinwen 金文). Simplified and expressive, they bridge the gap between historical writing systems and contemporary visual language. Luo Qi employs oil painting techniques within a calligraphic framework. The characters are no longer legible texts but transformed into pictographic elements, giving the composition a symbolic and rhythmic structure. The use of vibrant primary colors intensifies the visual impact and helps unify the graphic signs within a cohesive abstract field.\r The “writing” that Luo Qi creates is not meant to be read through the lens of linguistic logic but rather to be felt. It is a form of emotional, non-verbal communication, representing a visual language rooted in emotion, intuition, and artistic vitality. This concept of ‘Love Writing’ (情书 qíngshū) or "poetic writing" is underscored by a recurring motif across the series: the stylized heart, which is often drawn in a stylized, symbolic manner and highlighted in bright fuchsia. These hearts clearly reflect the first character of the series’ title, 情 (qíng, "love/emotion"), and offer a key to interpreting this series. Luo Qi’s calligraphy becomes a language of love, one that bypasses rationality and speaks directly to the viewer’s sensibility.""" ; write:directionality "Free", "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image ; write:isUnitOf ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 , ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle """CWU Blackism No. 1 (signs)\r """ ; write:description "This CWU consists of the large black lines executed with a flat brush on white paper. The strokes intersect dynamically, evoking the tension between writing and abstraction. Although the composition derives from a Chinese character, Luo Qi disrupts the stroke order, making it unreadable. This deliberate distortion transforms the work from calligraphic to abstract. The loss of legibility dissolves meaning and highlights the expressive autonomy of the line." ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; sch:image ; write:isUnitOf ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Godbird 07-30 (鸟) " ; write:description """This CWU consists of a stylized depiction of a bird that is a reminiscence of the pictographic forms of the character niao 鸟 (bird). Compared to the previous works of the "Godbird Series" it belongs to, there is no longer a strong analogy with the pictographic forms of the character, and the compositions of lines only faintly suggest the shapes of a bird. In this work, as in the other works of the series, Luo Qi created a childish, archaic drawing writing, in which the characters have been heavily reshaped and contaminated with simple figurative elements. For example, the beak is rendered in red, similar to a seal impression, while green is used for the bird's plumage. This coloration gives the bird an almost fish-like form, evoking connections to the 'Flying Fish Series' by the same artist. The colophon consists of the signature of the artist, "Luo Qi 洛齐", with the two Chinese characters of his name written in cursive. This non-formalized 'writing' is no longer linguistically readable, but visually appreciable, opening itself to universal aesthetic enjoyment. \r """ ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 1 ; write:transcriptionAndTranslation "Bird"@en, "鳥"@zh, "鸟"@zh, "Niǎo"@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Wang Shu 王澍" ; wdt:P27 ; wdt:P361 ; wdt:P569 "1963-11-04"^^xsd:date ; wdt:P856 ; wdt:P937 ; write:description "Wang Shu is the dean of the School of Architecture of the China Academy of Art. In 2010, he and his partner Lu Wenyu won the German Schelling Architecture Prize for their work with Amateur Architecture. In 2012, he became the first Chinese citizen to win the Pritzker Prize, the world's top prize in architecture. He studied architecture at Nanjing Institute of Technology. He is the dean of the School of Architecture of the China Academy of Art. " ; write:hasWikidataResource . a write:CalliWritingUnit ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P462 ; sch:thumbnailUrl , , ; write:attributedTitle "CWU Rubbing Drought (lines)" ; write:description "This CWU consists of black ink lines imprinted on paper through the rubbing process used in Wang Nanming's artwork \"Rubbing Drought\". The fragmented ink surfaces, marked by fissures, are not pictorial abstractions, but capture the cracks in the dry ground of Xiliu Lake in Zhengzhou in a tangible, physical way. These lines document a pressing social and ecological issue." ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasCalligraphicLine false ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; sch:image , , ; write:isUnitOf . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU Black Series (lines)" ; write:description "This CWU consists of the lines in the artwork Black Series. The black lines of ink cover almost the whole surface of the paper." ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine false ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; sch:image ; write:isUnitOf ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P144 , ; wdt:P180 , , ; wdt:P186 ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Tian Xiang (节气)" ; write:description """The 24 stones of Tian Xiang are engraved with the Chinese twenty-four solar terms (jieqi 节气), which divide the solar year into 24 two-week periods, such as jingzhe 惊蛰, or “insects awaken”, marking the first stirring of hibernating insects. Each stone reflects a unique aspect of the infinite universe, crafted from massive natural rocks sourced from the depths of the boundless sea near Shandong province, historically known as Lu 鲁, the birthplace of Confucianism. For this reason, the rocks are referred to as “ru rocks” (ru shi 儒石, meaning Rocks of Confucianism). The calligraphy wraps around each side of the ru rocks, revealing only one of ar few strokes from any given angle. It is only through observing the entire installation that viewers realise each stone represents a distinct solar term, symbolising the vastness of the universe. “The characters carved into the ru rocks are smooth on the surface but firm in essence, embodying timeless Oriental elegance, in a pursue of a perfect balance of stiffness and fluidity” (Gu 2018, 5). The uncoloured strokes are delicately carved into the rocks’ natural texture with gentle transitions, reflecting the artist’s intention to integrate Chinese views of the universe and daily life into these naturally shaped rocks.\r The Chinese twenty-four solar terms (jieqi 节气), which divide the solar year into 24 two-week periods, derives from the traditional Chinese calendar, also known as 'agricultural calendar' (nongli 农历) or 'lunar calendar' (yinli 阴历). It is a lunisolar calendar, combining the solar, lunar, and other cycles for various social and agricultural purposes. It was firstly introduced during the Taichu calendar of the Han Dynasty, which paired the solar terms with the 12 combined periods known as climate terms.""" ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image ; write:isUnitOf ; write:numberOfCharacters 48 ; write:transcriptionAndTranslation "Beginning of Spring, Rain Water, Awakening of Insects, Spring Equinox, Clear and Bright, Grain Rain, Beginning of Summer, Lesser Fullness of Grain, Grain in Ear, Summer Solstice, Lesser Heat, Greater Heat, Beginning of Autumn, End of Heat, White Dew, Autumn Equinox, Cold Dew, Frost Descent, Beginning of Winter, Lesser Snow, Greater Snow, Winter Solstice, Lesser Cold, Greater Cold."@en, "‘inizio di primavera’ (lichun立春), ‘acqua piovana’ (yushui 雨水), ‘risveglio degli insetti’ (jingzhe 惊蛰), ‘equinozio di primavera’ (chunfen 春分), ‘limpidezza e luminosità' (qingming 清明), ‘pioggia dei cereali’ (guyu 谷雨), ‘inizio dell’estate’ (lixia 立夏), ‘piccola pienezza’ (xiaoman 小满), ‘grano nella spiga / raccolta’ (mangzhong 芒种), ‘solstizio d’estate’ (xiazhi 夏至), ‘caldo leggero’ (xiaoshu 小暑), ‘calure’ (dashu 大暑), ‘inizio d’autunno’ (liqiu 立秋), ‘fine della calura’ (chushu 处暑), ‘rugiada bianca’ (bailu 白露), ‘equinozio d’autunno’ (qiufen 秋分), ‘rugiada fredda’ (hanlu 寒露), ‘gelate notturne’ (shuangjiang 霜降), ‘inizio dell’inverno’ (lidong 立冬), ‘nevicate leggere’ (xiaoxue 小雪), ‘forti nevicate’ (daxue 大雪), ‘solstizio d’inverno’ (dongzhi 冬至), ‘freddo leggero’ (xiaohan 小寒), ‘grande freddo’ (dahan 大寒)."@it, "立春, 雨水, 惊蛰, 春分, 清明, 谷雨, 立夏, 小满, 芒种, 夏至, 小暑, 大暑, 立秋, 处暑, 白露, 秋分, 寒露, 霜降, 立冬, 小雪, 大雪, 冬至, 小寒, 大寒."@zh, "Lìchūn, Yǔshuǐ, Jīngzhé, Chūnfēn, Qīngmíng, Gǔyǔ, Lìxià, Xiǎomǎn, Mángzhòng, Xiàzhì, Xiǎoshǔ, Dàshǔ, Lìqiū, Chùshǔ, Báilù, Qiūfēn, Hánlù, Shuāngjiàng, Lìdōng, Xiǎoxuě, Dàxuě, Dōngzhì, Xiǎohán, Dàhán."@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Painful ‘Scriptures’ (针刑、一丈红、木驴...)" ; write:description "This CWU is part of the performance Painful ‘Scriptures’ realized by Wu Xixia at Guizhou in 2024. It consists of the top ten criminal laws used to punish women in ancient China Wu Xixia writes on the red cloth strips, such as: 1) \"zhēn xíng 针刑\" (needle torture), a type of torture involving the use of needles or pins to inflict pain on the victim, especially to penetrate the skin or sensitive areas of the body; 2) \"yī zhàng hóng 一丈红\" (one foot of red), a torture method also known as \"red stick torture\" that was practiced with a stick used to repeatedly hit a person, causing bruises and damage to the skin; 3) \"mù lǘ 木驴\" (wooden donkey), a form of torture involving the victim being forced to sit or lean on a sharp or awkwardly shaped wooden object, causing intense pain; 4) \"yōu bì 幽闭\" (confinement), a torture by solitary confinement, where the victim was locked in a narrow or dark space for a prolonged period, inflicting both physical and psychological suffering; 5) \"luò xíng 烙刑\" (branding), a torture by branding, which involved burning the victim's skin with a hot iron, to brand them with permanent scars or to inflict intense pain; 6) \"pēng zhǔ烹煮\" (boiling), a torture method that involved cooking the victim alive in boiling water or other high-temperature liquids, causing severe burns and suffering; 7) \"kū tī 刳剔\" (beheading), a type of torture in which internal parts of the victim's body, such as organs, were removed or mutilated with the intent of inflicting suffering and slow death; 8) \"jìn zhū lóng 浸猪笼\" (soaking in pig cage), a torture in which the victim was immersed in a narrow cage, often filled with water or other liquids, causing asphyxiation or physical torment; 9) \"hóng xiù xié 红绣鞋\" (red embroidered shoes), a symbolic torture method, where the victim was forced to wear special shoes as a sign of humiliation or social punishment; and 10) \"zǎ xíng 拶刑\" (finger crushing), a type of torture in which the victim's fingers were crushed or injured with torture instruments, causing intense pain and permanent deformities."@en ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 6 ; write:transcriptionAndTranslation """needle torture\r one foot of red\r wooden donkey\r confinement\r branding\r boiling\r beheading\r soaking in pig cage\r red embroidered shoes\r finger crushing"""@en, """针刑\r 一丈红\r 木驴\r 幽闭\r 烙刑\r 烹煮\r 刳剔\r 浸猪笼\r 红绣鞋\r 拶刑"""@zh, """zhēn xíng\r yī zhàng hóng \r mù lǘ \r yōu bì \r luò xíng \r pēng zhǔ\r kū tī \r jìn zhū lóng \r hóng xiù xié \r zǎ xíng"""@zh-Latn ; write:vectorisedOrDigitised false . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P1412 ; wdt:P21 ; wdt:P2561 "Lu Wenyu 陆文宇 " ; wdt:P27 ; wdt:P361 ; wdt:P569 "1967"^^xsd:gYear ; wdt:P812 ; wdt:P937 ; write:description "Lu Wenyu co-founded the firm Amateur Architecture Studio in Hangzhou, which became known for its use of natural materials and traditional techniques. In 2010, Lu Wenyu and her partner Wang Shu won the German Schelling Architecture Prize for their work with Amateur Architecture. She studied architecture at Nanjing Institute of Technology. Around 2012, she had taught a course for several years at Harvard’s Graduate School of Design. She is the director of the Experimental Center of the Department of Architecture of the China Academy of Art (中国美术学院建筑艺术学院实验中心主任)." ; write:hasWikidataResource . a write:CalliWritingUnit ; wdt:P144 , ; wdt:P180 , , , ; wdt:P186 , , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU The Story of the Mirror (痛贯心肝、痛当奈何...)"@en ; write:description "This CWU consists of the chatacters written by Li Xinmo during the performance \"The Story of the Mirror\" (Jingzi de gushi 镜子的故事) realized by Li Xinmo at the exhibition opening at the \"House of Inciting Passion\" of Vienna on November, 10 2023 in occasion of the “Vienna Art Week”. Li Xinmo uses red ink (cinnabar ink) to write characters related to pain which came from ancient Chinese inscriptions on the gauze and after on the mattress, i.e. “Pain penetrates the heart and liver, pain should be helpless” (Tong guan xingan, tong dang naihe 痛贯心肝、痛当奈何) in Wang Xizhi's “Sangluan Tie” 丧乱贴 and “Sadness and pain are destroyed” (Aitong cui bo 哀痛摧剥) in Wang Xizhi’s “Auntie” (Yimu tie 姨母帖). She wrote these words in traditional Chinese characters."@en ; write:directionality "Free" ; write:hasBackgroundColour , ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 12 ; write:transcriptionAndTranslation """Pain is so deep and suffering, what can I do?\r Grief is so devastating"""@en, """痛贯心肝、痛当奈何\r 哀痛摧剥"""@zh, """Tòng guàn xīngān, tòng dāng nàihé \r āitòng cuī bō"""@zh-Latn . a write:CalliWritingUnit ; sch:thumbnailUrl ; write:attributedTitle "CWU Born from Thirst for Love" ; sch:image ; write:isUnitOf . a write:CalliWritingUnit ; wdt:P186 ; wdt:P462 ; write:attributedTitle "CWU Book from the Sky (signs)" ; write:description """This CWU constists of thousands of completely invented characters realized by Xu Bing between 1987 and 1991 for the four books and the installation that constitute the work "Book from the Sky". Each character was meticulously designed by the artist in a Song-style font that had been standardized by artisans during the Ming dynasty (1368-1644), but although they resemble real Chinese characters, they are entirely meaningless and illegible: Xu Bing actually uses some real components and some that are invented in combinations that are entirely new, creating characters that are looks extremely familiar to who can read Chinese. These "false" characters were hand-carveded on a set of over four thousand moveable type printing woodblocks used to produce a four-volume treatise of 604 pages. Characters were then printed to produce a hundred books, which were neatly arranged at the center of the installation, and were also printed on long scrolls, hanging from the ceiling and mounted on the walls.\r """ ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasSignificance "Set of signs (illegible)" ; write:isUnitOf ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Xu Bing Tianshu Rocket (set of signs)" ; write:description "This CWU consists of the set of signs applied on the Xu Bing Tianshu Rocket launched in 2022. The rocket is adorned with invented characters derived from Xu Bing's work, A Book from the Sky (1988)." ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine false ; write:hasColophon true ; write:hasSignificance "Set of signs (illegible)" ; write:isUnitOf ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Violet (紫罗兰)" ; write:description """This Calli-Writing Unit is composed of the three Chinese characters “Ziluolan 紫羅蘭” (Violet). Unlike his typically spontaneous color applications, this piece exhibits a calculated and thoughtful use of violet, a color symbolic of both nature and the tragic love story of Chinese writer Zhou Shoujuan. The choice of violet not only draws on the visual inspiration of the flower but also reflects a deeper emotional resonance, underscoring themes of loss and beauty in decline.\r Set against the backdrop of a demolition site, the work introduces a striking contrast between the vibrant violet hue and the desolate, decaying urban environment. This juxtaposition amplifies Dohak625’s critique of urban spaces and their disconnection from nature, a key aspect of graffiti culture. By placing this natural symbol in a site of destruction, the artist critiques the erasure of nature in modern cities, while simultaneously attempting to reclaim it. \r The "Violet" characters, with their jagged, irregular forms, align with Dohak625's anti-style aesthetic and the “ugly calligraphy” (choushu 丑书), suggesting organic, untamed growth amidst the urban decay.\r A particularly powerful element in the artwork is the central stroke of the character "lan 蘭 (orchid)," which extends beyond the surface and toward the ground, symbolically connecting the piece to the earth. This stroke, reminiscent of a plant’s root reaching into the soil, suggests a re-establishment of nature's presence in the city. The characters’ vertical lines, grounding them to the earth, create a visual link between the artwork and the natural world, while the upper strokes form a shelter-like structure, symbolizing protection. This fusion of the organic and urban suggests not only the persistence of nature but its capacity to reclaim space within the industrialized city.\r Through this CWU, Dohak625 moves beyond personal artistic expression, engaging in a broader conversation about the role of nature in urban spaces. "Violet (Ziluolan 紫羅蘭)" becomes both a commentary on the degradation of the environment and an act of reclamation, bringing nature into spaces from which it has been erased. The work transcends mere aesthetic concerns, positioning itself as a statement on the ongoing tension between urban development and the natural world."""@en ; write:directionality "Modern" ; write:hasBackgroundColour , ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 3 ; write:transcriptionAndTranslation "Violet"@en, "紫罗兰"@zh, "紫羅蘭"@zh, "Zǐluólán"@zh-Latn . a wd:Q7725634 ; wdt:P1476 "Violet 紫罗兰"@en, "紫罗兰"@zh, "Zǐluólán"@zh-Latn ; wdt:P50 ; wdt:P571 "1925-12"^^xsd:gYearMonth ; write:description """"Violet" was a popular urban fashion and mass-market literary magazine, widely circulated in the 1920s and 1930s. First published in December 1925, it ceased publication in June 1930, after releasing a total of four volumes and 96 issues. The magazine carried forward the tradition of late Qing and early Republican-era popular literature, while also being deeply rooted in the modernizing urban environment of Shanghai during the 1920s and 1930s, a period of rapid social and cultural transformation. Throughout its publication run, Violet maintained a broad readership, reflecting the rising consumer culture and the increasing demand for urban leisure and lifestyle content among Shanghai’s middle and upper classes.\r The cover title of Violet was inscribed by the famous Chinese opera performer Mei Lanfang, and the magazine was founded by the writer Zhou Shoujuan. Zhou, a central figure in early 20th-century popular literature, had a personal attachment to the name "Violet" due to a youthful romantic experience. While in middle school, Zhou attended a school performance and was immediately captivated by a female student named Zhou Yinping, who was both graceful and lively. The two exchanged love letters, pledging undying devotion to one another, with Zhou vowing not to marry anyone else. However, Yinping’s wealthy family disapproved of Zhou’s modest background and forced her into another marriage, leaving Zhou heartbroken. Yinping’s English name was Violet, and after this, Zhou developed a lifelong obsession with the flower and its symbolism. He kept violets on his desk, wrote with violet-colored ink, and titled many of his works after the flower, including the magazine he edited, Violet."""@en . a write:CalliWritingUnit ; wdt:P144 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU The heavenly wind blows upon me (天风吹我)" ; write:description """This Calli-Writing Unit features the phrase “Tian feng chui wo 天风吹我” ("The Heavenly Wind Blows Upon Me"), in non-simplified characters, derived from Gong Zizhen’s poem “Xiang Yue · Sky Wind Blows Me (《湘月·天风吹我》)” from the Qing Dynasty (1792–1841). Dohak625 created this artwork using pink chalk on the ground as a tribute to Gong Zizhen's self-assurance and artistic legacy.\r According to Dohak625 (interview with M. R. Bisceglia 2024), the nuances of Chinese poetry can be difficult for non-native speakers to grasp. While the phrase might simply translate to “I was here” in English, it conveys a deeper significance, evoking the image of a deity descending from the heavens, declaring, “Here I am.” Although the artist does not claim a divine status, they admire Gong Zizhen's boldness, particularly this line, which emphasizes the poet's extraordinary confidence.\r Stylistically, he mixed his personal jagged/anti-style with the contemporary trend in Chinese calligraphy known as “ugly calligraphy” (choushu 丑书), which is characterized by disharmony, asymmetry, and inconsistency, while, the use of pink chalk carries both symbolic and practical meanings. \r Pink, associated with softness and compassion, contrasts with the poem's themes of divine presence and grandeur, highlighting the tension between humility and boldness. This color also symbolizes life and creativity, aligning with Gong Zizhen’s challenge to traditional modesty.\r Chalk, being temporary and easily erased, emphasizes the fleeting nature of the artwork, reflecting the transient essence of human existence—central themes in classical Chinese poetry. The medium's vulnerability to the elements suggests the impermanence of art and life. Dohak625’s choice of chalk evokes associations with childhood and playfulness, transforming a simple material into something profound. Utilizing the ground as a canvas invites public interaction and engagement.\r The delicate quality of pink chalk juxtaposed with the weighty significance of Gong Zizhen’s poetry creates an interplay between contemporary and historical contexts, bridging the ephemeral with the eternal. Ultimately, the use of pink chalk serves as a personal interpretive tool for Dohak625, emphasizing the fleeting nature of art while resonating across time."""@en ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasGraffitiStyle ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:transcriptionAndTranslation "Tiān fēngchuī wǒ"@zh, "天風吹我"@zh, "天风吹我"@zh, "The heavenly wind blows upon me"@zh-Latn . a wd:Q7725634 ; wdt:P1476 "The Wind Blows Me (湘月·天风吹我)"@en, "Xiang Yue: The Wind Blows Me"@en, "湘月·天风吹我"@zh, "Xiāng yuè·tiān fēng chuī wǒ"@zh-Latn ; wdt:P50 ; wdt:P571 "1832"^^xsd:gYear ; write:description """"Xiang yue: tian feng chui wo 湘月·天风吹我" is a poem written by Gong Zizhen (1792–1841), a prominent Chinese poet and thinker from the late Qing dynasty. In this poem, Gong reflects on his return to West Lake after a decade-long absence, and his feelings of nostalgia, unfulfilled ambitions, and emotional solitude.\r The first stanza reflects the poet’s personal aspirations, recalling his youthful years, during which his ambitions remained unfulfilled and his career achievements fell short. The second stanza contrasts the scenery with his feelings, as he revisits familiar landscapes like the lake and mountains. This triggers a deep sense of melancholy as the unchanged surroundings intensify his emotional struggles. The poem seamlessly blends narrative, philosophical reflection, emotion, and nature, all conveying a mood of desolation and grandeur. Gong Zizhen's writing style is light and elegant, making this work a masterpiece of his poetic collection.\r The poem's themes include regret, lost time, and the sorrow of unfulfilled dreams, beautifully expressed through Gong's vivid and ethereal writing.\r The poem begins with a powerful image of the wind blowing the speaker onto a corner of West Lake's scenic hills. The sight evokes memories of youth, which are now distant and filled with regrets. Gong contrasts his past youthful ambitions with the modest reality of his life, where achievements such as fame and literary accomplishments feel hollow.\r As he gazes at the setting sun and fragrant grasses by the lake, his melancholy deepens. The symbolic imagery of "blowing the flute" and "talking about the sword" in the latter part of the poem represents two sides of the poet's nature: artistic elegance and heroic vigor. These elements evoke his inner conflict between pursuing beauty and grace versus bold action.\r The poem captures both personal sorrow and a broader reflection on life's transience, blending emotional depth with vivid imagery."""@en ; write:hasWikidataResource ; write:transcriptionAndTranslation """Xiang Yue · The Wind Blows Me\r In the summer of Renshen, I sailed West Lake, writing to express my long-held feelings, after ten years away from Hangzhou.\r The wind blows me, casting me into a corner of the lake and hills, and indeed, it is beautiful. Once, I was but a young guest in Donghua, now, looking back, the vastness is endless. Is it my life’s work to chase empty fame, to butcher dogs and carve words into dragons? My old friends, Su Xiao, would surely laugh at my folly.\r I catch a glimpse of the setting sun, half a bank of fragrant grass, and suddenly, sorrow rises within. Where can I now hear the soft steps of silk shoes? My heart drifts, lonely and untethered. A mournful flute, a mad talk of swords—two tastes that stir the soul. Two fleeting spring dreams, and the sound of oars fades into the clouds and waters.\r (Translator: Marta R. Bisceglia)"""@en, """湘月·天风吹我\r 壬申夏泛舟西湖，述怀有赋，时予别杭州盖十年矣\r 天风吹我，堕湖山一角，果然清丽。曾是东华生小客，回首苍茫无际。屠狗功名，雕龙文卷，岂是平生意？乡亲苏小，定应笑我非计。\r 才见一抹斜阳，半堤香草，顿惹清愁起。罗袜音尘何处觅，渺渺予怀孤寄。怨去吹箫，狂来说剑，两样销魂味。两般春梦，橹声荡入云水。"""@zh, """Xiāng yuè·tiān fēng chuī wǒ \r rén shēn xià fànzhōu xīhú, shùhuái yǒu fù, shí yǔ bié hángzhōu gài shí nián yǐ \r tiān fēng chuī wǒ, duò húshān yījiǎo, guǒrán qīnglì. Céng shì dōng huá shēng xiǎo kè, huíshǒu cāngmáng wújì. Tú gǒu gōngmíng, diāo lóng wén juǎn, qǐ shì píng shēngyì? Xiāngqīn sū xiǎo, dìng yīng xiào wǒ fēi jì. \r Cái jiàn yīmǒ xiéyáng, bàn dī xiāngcǎo, dùn rě qīng chóu qǐ. Luō wà yīn chén hé chù mì, miǎomiǎo yǔ huái gū jì. Yuàn qù chuī xiāo, kuáng lái shuō jiàn, liǎngyàng xiāohún wèi. Liǎng bān chūnmèng, lǔ shēng dàng rù yún shuǐ."""@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Just live (活着就行)" ; write:description """This Calli-Writing Unit consists of four characters “Huo zhe jiu xing 活着就行,” meaning "Just live" or "To breathe is to thrive." The phrase carries a philosophical tone, suggesting that mere existence is a form of thriving. It emphasizes the intrinsic value of life, highlighting resilience and survival, and implies that, despite challenges, the key is to keep going.\r Stylistically, this CWU adheres to Dohak's jagged/anti-style and the contemporary trend in Chinese calligraphy known as "ugly calligraphy" (choushu 丑书), characterized by disharmony, asymmetry, and inconsistency.\r The characters are painted in green with a black outline and each of them occupies a single shutter of a shop. Because of their big dimension, they evoke a big character calligraphy (dazi shufa). The use of green and the jagged strokes reminiscent of leaves may serve as a “green” message, providing a splash of color against the otherwise gray and dreary shutters of the metropolis. Each character resembles a plant, contrasting not only with the gray of the shutter in the background but also with the squared characters of the shop signs. This highlights an interesting contrast between art and the urban environment, utilizing a style that not only captures attention but also conveys an ecological message. Moreover, the contrast between the fluid, organic characters and the squared shop signs underscores a tension between the rigidity of commerce and the naturalness of life. This type of artistic intervention may also stimulate reflection on sustainability and the importance of preserving green spaces in cities.\r Another important aspect of this CWU is that each individual character is perfectly and harmoniously contained within a square, akin to the practice of writing within the hanzigezi 汉字格子 grid. The hanzigezi is a grid composed of intersecting horizontal and vertical lines that create squares, traditionally utilized for practicing Chinese writing and calligraphy.\r The artist enjoys creating graffiti on roll-up doors for two main reasons: i) First, these doors are only visible after the shop closes, minimizing their impact on the environment. Compared to graffiti in other locations, the reduced visibility can increase the chances of the artwork lasting longer. ii) Second, the size of roll-up doors is particularly suitable for Chinese graffiti, especially when multiple doors appear in succession. On this occasion, the artist encountered four consecutive roll-up doors and decided it would be perfect to write a motto. Thus, they inscribed four Chinese characters meaning “Huo zhe jiu xing 活着就行” (Just live), which reflects one of their personal values. iii) Additionally, the artist enjoys designing signs for shop names on these roll-up doors. This approach can lead environmental protection workers, who are tasked with covering graffiti, to mistakenly believe the artwork was created by the shop owner, potentially protecting it from removal. """@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine false ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:transcriptionAndTranslation "Just live"@en, "活着就行"@zh, "Huózhe jiùxíng"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Flute Melodies, Flowing Water, Writing Calligraphy (负情石上...)" ; write:description "The poem \"Flute Melodies, Flowing Water, Writing Calligraphy\" (箫声 · 流 水 · 书写) is written by Zhu Qingsheng in traditional characters (cursive-running script). It describes the flowing water that breaks on the rocks, an image combined with the passage of time that runs away, leaving no trace of itself. As well as a part of the characters of the composition that are washed away by the water and of which only traces of soaked ink remain."@en ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 36 ; write:transcriptionAndTranslation """Lively, on the rocks\r The water breaks.\r It washes away the autumns...\r Unrelenting.\r Unaware of time,\r it flows away.\r Spring winds recall...\r The years passed by.\r No more trace, no more essence...\r What has been, is gone.\r So be it."""@en, """負情石上快樂水\r 洗清秋\r 翻然不知時候\r 東風妄憶\r 西風正過\r 只一襲凋零意\r 還不肯\r 就乾休"""@zh, """负情石上快乐水\r 洗清秋\r 翻然不知时候\r 东风妄忆\r 西风正过\r 只一袭凋零意\r 还不肯\r 就干休"""@zh, """Fù qíng shíshàng kuài lè shuǐ \r xǐ qīngqiū\r fānrán bùzhī shíhòu\r dōngfēng wàng yì \r xīfēng zhèngguò \r zhǐ yī xí diāolíng yì \r hái bù kěn\r jiù gàn xiū"""@zh-Latn ; write:vectorisedOrDigitised false . a write:CalliWritingUnit ; wdt:P1480 ; wdt:P180 , , , , , , ; wdt:P186 ; wdt:P282 , , , ; wdt:P407 , , ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle """CWU United Nations - Babel of the Millennium (signs)\r """ ; write:description "This CWU consists of illegible texts based on Chinese, English, Arabic and Hindi that are included in Gu Wenda's installation \"United Nations - Babel of the Millennium\" exhibited at the San Francisco Museum of Modern Art in 1999. The Chinese characters seems to be written in seal script, but in fact all of them are unreadable. There are also fragments of English language words but none of them could be read, and texts actually don't make full sense. The texts are made of human hair collected from 325 barber shops and hair salons from 18 countries from every continent. They are arranged in panels that are installed to create a tower. This is an echo of the biblical story of the Tower of Babel from the Genesis that meant to explain the existence of different languages and the difficulty of understanding between peoples. " ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of signs (illegible)" ; sch:image ; write:isUnitOf ; write:numberOfCharacters 220 . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 , ; wdt:P282 ; wdt:P407 , ; wdt:P462 , , , , , , , ; sch:thumbnailUrl ; write:attributedTitle "CWU Wood Dragon (灵丹 +YP)" ; write:description """In this CWU, the graffiti artist Exas employs a distinctive technique, transforming the two characters of his Chinese tag Lingdan 灵丹, which means "elixir" or "magic pill," into animated "puppets." Through this zoomorphic transformation, the characters themselves become dynamic and lifelike, as if animated with the spirit of the dragon. Zoomorphism, the process by which letters or characters are given animal-like forms, plays a central role in this artwork. Exas' interpretation of the characters takes inspiration from the concept of letterform illustration, where the shapes of letters or symbols are designed to resemble living beings, whether human or animal. This method effectively bridges language with visual art, allowing the written word to acquire physicality and presence.\r What stands out in this animation is the striking contrast between warm and cool tones. The dragon's body is depicted in vibrant red, while its flame-like tentacles are rendered in shades of sky blue, creating a dramatic interplay of colors. Interestingly, the dragon’s tail takes on the appearance of a frozen tree, enhancing the contrast between fire and ice.\r The forms themselves are rounded yet sharp, embodying both fluidity and precision, much like the dragon’s claws and teeth. As in traditional calligraphic compositions, Exas masterfully juxtaposes Yin and Yang elements: heat and cold, water and fire, blending opposing forces through chromatic contrast and symbolic imagery. This tension between elements ‒ sharp and soft, warm and cold ‒ imbues the artwork with a deeper, dualistic narrative, symbolizing balance in contrast."""@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine false ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf , ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:transcriptionAndTranslation "elixir, magic pill, panacea"@en, "灵丹"@en, "Língdān"@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Zhang Weiliang 张维良" ; wdt:P27 ; wdt:P453 ; wdt:P569 "1957"^^xsd:gYear ; wdt:P812 ; wdt:P937 ; write:description """Zhang Weiliang is a famous dizi, xiao and xun player, educator and composer. He is a professor, supervisor of PhD candidates and Deputy Head of the Academic Committee at the China Conservatory of Music. He is also Vice Chairman of the Beijing Musicians’ Association, President of the China Bamboo Flute Society under the auspices of the China Nationalities Orchestra Society, and senior assessor of the Ministry of Culture. \r Zhang has won many accolades in the field of education. He was awarded for “High Level Innovative Pedagogical Excellence” in 2015, and a National Class One Award for Pedagogical Results by the Ministry of Education in 2014. As a composer, Zhang won an Excellence Award with Weeping for the Flowers at the National Competition for Original Compositions of Folk Instrumental Music organized by the Ministry of Culture in 2010. He was commissioned to write the music for the opening ceremony of the 29th Olympic Games in 2008. His Bamboo Dreams, composed in 2003, won a Class One Prize for Music Composition at the National Dance Competition organized by the Ministry of Culture. He has been on many overseas tours, performing in Europe, Asia, the Americas and Africa.""" ; write:hasCalligraphicTraining "Not present"@en . a wd:Q215627 ; wdt:P103 ; wdt:P2561 "Luana Tallarita" ; wdt:P27 ; wdt:P453 . a wd:Q215627 ; wdt:P103 ; wdt:P21 ; wdt:P2561 "Irene Stellini" ; wdt:P27 ; wdt:P453 . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Enrico Intra" ; wdt:P27 ; wdt:P453 ; wdt:P569 "1935"^^xsd:gYear ; wdt:P812 ; wdt:P937 ; write:description "Enrico Intra is an Italian jazz pianist, composer, and music director. During his long career, Intra has collaborated with such notable musicians as Gerry Mulligan, Franco Cerri, Lee Konitz, Milton Jackson, Severino Gazzelloni, Pino Presti, Tullio De Piscopo, David Liebman and others" ; write:hasCalligraphicTraining "Not present"@en ; write:hasWikidataResource . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Agnese Gabrielli" ; wdt:P27 ; wdt:P453 ; wdt:P569 "1997-12-20"^^xsd:date ; wdt:P812 ; wdt:P937 ; write:description "Agnese Gabrielli is a dancer and performer based in Bologna. She graduated in 2019 from Civica Scuola di Teatro Paolo Grassi, where she deepened different movement techniques with national and international choreographers such as Elie Tass from Les Ballet C de la B, Julie Anne Stanzak from Tanztheater Wuppertal, Biagio Caravano, Paola Lattanzi and many others. Since 2020 she has been a performer in several shows such as Party Girl by Francesco Marilungo, Il Lunedì by Ina Christel Jhoannensen, Rizoma by Sharon Fridman. She is currently a performer in the show Paradiso, by the Italian research dance company Gruppo Nanou. The work does not create hierarchies between body music and dance, which are in constant dialogue in a continuous construction and deconstruction of space and time. Since 2020 she has been studying Pedagogy at Alma Mater Studiorum in Bologna, and her personal research focuses on an in-depth study of techniques and tools that bring together body expression and educational experience. In 2023 she begins a personal path of choreographic research entitled “Labirinto,” in which a fundamental requirement is the encounter and shared research with young adolescents."@en ; write:hasCalligraphicTraining "Not present"@en . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , , ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Giusy Caruso" ; wdt:P27 ; wdt:P453 ; wdt:P569 "1976"^^xsd:gYear ; wdt:P812 ; wdt:P856 ; wdt:P937 ; write:description "Giusy Caruso is a concert pianist and postdoctoral researcher focused on studying human-machine interaction (HMI) for the creation of futuristic multimedia formats and music performance analysis. Chairwoman of the CREATIE research group at Royal Conservatoire Antwerp and affiliated researcher at IPEM-Ghent University, she is Official Music Advisor of the LWT3 Performing Arts Lab Milan. Renowned interpreter of contemporary music repertory, she is pursuing her concert activity in Europe, Asia, Russia and America, taking part into Radio and TV shows. She released CDs acclaimed in worldwide music reviews. Among other international awards, Dr. Caruso received together with LWT3 team the first S+T+Arts Prize Honorary Mention 2023 for the project ‘MetaPhase: a contrapuntal dialogue between a pianist and her avatar in the metaverse'."@en ; write:hasCalligraphicTraining "Not present"@en . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P1412 , ; wdt:P21 ; wdt:P2561 "Zhang Yaqin 张雅钦" ; wdt:P27 ; wdt:P453 ; wdt:P569 "2000"^^xsd:gYear ; wdt:P812 ; wdt:P937 . a write:CalliWritingUnit ; wdt:P1480 ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , , , , , , , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Please Describe Graffiti to a Blind Person (请向盲人描述涂鸦 + tags)" ; write:description """This Calli-Writing Unit consists of the phrase "Please Describe Graffiti to the Blind 请向盲人描述涂鸦." Using spray paint, Zeit creates a piece with a white outline and a multicolored fill (mainly in pastel shades) in his straight, large charactering. \r The artwork also includes various tags in white, such as STH, 2G, and FEK (his crews), as well as the name 'Zeit' written in traditional characters '時間.' Additionally, the names Oreone and Leven (two possible crewmates) appear, alongside the same characters from the piece above, also in white."""@en ; write:directionality "Modern" ; write:hasBackgroundColour , ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine false ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 8 ; write:transcriptionAndTranslation "Please Describe Graffiti to a Blind Person"@en, " 请向盲人描述涂鸦"@zh, "Qǐng xiàng mángrén miáoshù túyā"@zh-Latn . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , , , ; wdt:P9302 , ; sch:thumbnailUrl ; write:attributedTitle "CWU Good Flavor (美味)" ; write:description """This Calli-Writing Unit consists of two bold Chinese characters (meiwei 美味), rendered in a dynamic yellow and orange palette with outlines of red and black, which create a powerful visual impact.\r It is interesting how, in addition to a range of symbols and puppets, the character "wei 味," meaning "flavor" or "taste," features within its "kou 口 radical" (meaning "mouth") a depiction of the symbol "tao."\r As a symbol (taijitu 太极图),is often represented by the yin-yang icon in Daoism. The yin-yang symbol consists of a circle divided into two swirling halves—one black (yin) and one white (yang)—with a small dot of the opposite color within each half. It visually expresses the duality and interconnectedness of opposites in the universe, reflecting the principles of balance, harmony, and continuous change, which are central to the concept of tao.\r The yin-yang symbol is closely linked to the idea of tao because it captures the dynamic interplay of forces in the natural world, highlighting how opposites (such as light and dark, male and female, active and passive) are interdependent and continuously transform into one another. This balance and constant flow are key aspects of the tao, which is viewed as the underlying force that governs the natural order and guides the cycles of life.\r In the context of Daoism, living in harmony with the tao means aligning oneself with the natural order and flow of life, acting in a way that is spontaneous, intuitive, and in balance with the universe. The idea emphasizes simplicity, humility, and non-interference (wu wei), suggesting that by following the tao, one can achieve peace, wisdom, and fulfillment.\r In this case, the symbol depicted does not strictly follow the circular shape but instead adapts to the form that IRON has chosen to give to his charactering.\r Among the symbolic elements present, a stylized hand with an eye in its palm stands out prominently. This image is often linked to themes of perception, insight, and protection. In this context, it may signify an elevated awareness or sensitivity, symbolizing how one experiences the world through taste and other senses. The hand with an eye might also suggest a form of introspective observation, where the act of perceiving is as important as the object of perception itself.\r The surrounding motifs, such as stars and the sun, add a cosmic dimension to the artwork, potentially symbolizing guidance, inspiration, or the life-giving energy that sustains both physical and cultural nourishment. These celestial elements may also evoke the idea of time's passage, drawing a parallel to the way flavors develop and evolve with changing seasons or through the continuity of tradition."""@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:transcriptionAndTranslation "Good flavor, good taste"@en, "美味"@zh, "Mei wei"@zh-Latn . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Iron (鐵)" ; write:description """This Calli-Writing Unit prominently features Iron's tag along with a coral motif. The vibrant red tones and fluid lines in the piece create a sense of movement, while the contrasting blue highlights add depth and texture.\r It is interesting how coral, a natural element typically red in color, is rendered in blue, while the charactering of the tag "Iron," a mineral element, is instead depicted in bright red using a "Modern Gothichinese Calligraffiti style". This creates a curious juxtaposition of elements rendered inversely, evoking a reminiscence of yin and yang and the interplay of opposites.\r Regarding this, within the piece, a taijitu 太极图 can be observed, commonly represented by the yin-yang symbol in Daoism. The yin-yang symbol consists of a circle divided into two interlocking halves—one black (yin) and one white (yang)—each containing a small dot of the opposite color. This imagery symbolizes the duality and interconnectedness of opposites in the universe, embodying the principles of balance, harmony, and perpetual transformation, which are foundational to the concept of Tao. This is a recurring motif (leit motif) that Iron frequently incorporates into his works; however, in this instance, rather than using the traditional black and white, the symbol adopts the colors of the artwork, blending red and blue.\r The overall composition blends elements of natural forms with stylized graffiti charactering, creating a striking visual impact."""@en ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 1 ; write:transcriptionAndTranslation "Iron"@en, "鐵"@zh, "铁"@zh, " Tiě"@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , ; wdt:P186 , , ; wdt:P282 ; wdt:P407 ; wdt:P462 , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU More Than Human World (More Than Human World + 8 red tag/seals)" ; write:description """This Calli-Writing Unit spans eight pillars of a bridge, where the artist employs a calligraphic style reminiscent of the great seal script (dazhuan 大篆), using bold black brushstrokes and acrylic paint to inscribe the phrase "more than human world."\r This expression originates from David Abram's influential book "The Spell of the Sensuous," linking the artwork to his philosophy of the "more-than-human world," which emphasizes the interconnectedness of human beings and the natural environment. As a result, the piece can be understood as a socio-political work of art.\r The composition of the artwork is deliberately fragmented, with letters spread across different pillars. This arrangement creates a dynamic, multifaceted experience for viewers, who encounter the message gradually as they traverse the bridge. For instance, the first pillar bears the word "mor," accompanied by TxT's signature red tag/seal, which is inspired by ancient Chinese calligraphic seals, reinforcing the themes of permanence and authority. A lemon-yellow scribbled background—an element repeated on alternating pillars—adds a striking contrast to the black brushstrokes. The subsequent pillars continue in a similar pattern, with the second pillar completing the word "more" and alternating the use of the red tag and yellow background, ensuring rhythmic visual balance throughout the installation.\r This artistic choice - using black brushstrokes and a modern interpretation of traditional Chinese calligraphy - connects visually to Abram's philosophy, as it bridges the ancient, symbolic language of calligraphy with the contemporary urgency of environmental concerns. The use of letters, rather than Chinese characters, further modernizes the calligraphic aesthetic.\r The piece responds directly to the devastating drought of the River Po in 2022, an event exacerbated by climate change, which profoundly altered the natural landscape. The drought serves as a reminder of the fragility of ecosystems and humanity's responsibility to recognize its place within the broader web of life. TxT’s work reflects this shift, drawing attention to the inextricable link between human and non-human entities, a central theme in Abram’s philosophy. In The Spell of the Sensuous, Abram advocates for a reevaluation of how humans engage with the "more-than-human world," urging a more profound respect for the natural world that sustains human life.\r Through this large-scale outdoor installation, TxT highlights the fragile, yet powerful, relationship between humans and nature. The artwork becomes a visual reminder of the impact of climate change, while also inviting contemplation on the role of human beings as part of a broader, interconnected ecological system. By bridging the philosophical with the visual, the piece serves as a meditation on how human actions - particularly in the context of environmental crises such as the River Po drought - reverberate through the natural world, blurring the boundaries between the human and the more-than-human."""@en ; write:directionality "Modern" ; write:hasBackgroundColour , ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasGraffitiStyle , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool , ; write:transcriptionAndTranslation "More Than Human World"@en . a wd:Q7725634 ; wdt:P1476 "The Spell of the Sensuous: Perception and Language in a More-than-Human World "@en ; wdt:P50 ; wdt:P571 "1997"^^xsd:gYear ; write:description """"The Spell of the Sensuous: Perception and Language in a More-than-Human World" by David Abram explores the deep relationship between human perception, language, and the natural world. Abram argues that modern Western culture has become disconnected from nature due to the dominance of abstract, written language, which distances us from our sensory experiences. He contrasts this with oral, indigenous cultures that maintain a closer connection to the natural environment through spoken language, storytelling, and a sensory-based worldview.\r Abram draws from philosophy, anthropology, and ecology to highlight how human senses—especially sight, hearing, and touch—are intertwined with the more-than-human world, which includes animals, plants, and the elements. He discusses how our interactions with nature shape our awareness, and how indigenous cultures engage with the landscape as a living, communicative presence.\r The book advocates for a renewed ecological awareness and encourages readers to re-engage with the world through sensory experience, moving beyond the boundaries of human-centered thinking. Abram’s work emphasizes the importance of language in shaping our perception, urging a return to a more embodied, relational way of living with the natural world.\r Writing in the mid-1990s, and finding himself frustrated by the problematic terminology of environmentalism (dismayed by the longstanding conceptual gulf between humankind and the rest of nature tacitly implied by the use of conventional terms like "environment" and even by the word "nature" itself, which is so often contrasted with "culture" as though there were a neat divide between the two), Abram coined the phrase "the more-than-human world" in order to signify the broad commonwealth of earthly life, a realm that manifestly includes humankind and its culture, but which also necessarily exceeds human culture. \r The phrase was intended, first and foremost, to indicate that the space of human culture was a subset within a larger set — that the human world was necessarily sustained, surrounded, and permeated by the more-than-human world — yet by the phrase Abram also meant to encourage a new humility on the part of humankind (since the "more" could be taken not just in a quantitative but also in a qualitative sense). \r Upon introducing the phrase as the central term for "nature" in his 1996 book The Spell of the Sensuous (subtitled Perception and Language in a More-than-Human World), the phrase was gradually adopted by many other theorists and activists, soon becoming an inescapable term within the broad ecological movement.\r The publication of The Spell of the Sensuous proved to be catalytic for the formation and consolidation of several new disciplines, especially the burgeoning field of ecopsychology (both as a theoretical discipline and as therapeutic practice), as well as ecophenomenology and ecolinguistics. """@en ; write:hasWikidataResource . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU Status VII (lines)" ; write:description "This CWU consists of the abstract lines of the work Status VII by Qiu Zhenzhong. The artist creates structures composed of abstract lines similar to calligraphic strokes that resemble Chinese characters." ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasSignificance "Set of lines (meaningless)" ; sch:image ; write:isUnitOf ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P144 ; wdt:P1480 ; wdt:P180 , , , , ; wdt:P186 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Not Too Late - Orchid Pavilion Preface (《兰亭序》)" ; write:description "This CWU consists of an excerpt from the central part of the renowned \"Orchid Pavilion Preface\" (Lantingji xu 兰亭集序) by Wang Xizhi 王羲之 (303-361). Feng Mengbo captured computer screenshots from his video artwork \"Not Too Late\" (2010) and applied traditional characters in black ink to inscribe the excerpt directly on the two-dimensional surface, creating a contrast between the dynamic screen-based image and the aesthetics of traditional calligraphy." ; write:directionality "Traditional" ; write:hasBackgroundColour , ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 149 ; write:transcriptionAndTranslation """People's interactions with each other quickly pass through a lifetime.\r Some would share their ambitions in a chamber;\r others may freely indulge in diverse interests and pursuits.\r The choices are plenty and our temperaments vary.\r We enjoy the momentary satisfaction of pleasures that regale us,\r yet we hardly realize how swiftly we age.\r As desires fade and circumstances change, grief arises.\r What previously gratified us will soon be a relic,\r we cannot help but mourn.\r Whether life is long or short, there is always an end.\r As the ancients said,\r "Death and birth are momentous."\r How agonizing!\r Reading the past compositions reveals a consistent melancholy from the ancients.\r One may find themselves lamenting in response to their words, unable to articulate their feelings.\r It is absurd to equate life with death."""@en, """夫人之相与，俯仰一世，\r 或取诸怀抱，晤言一室之内；\r 或因寄所托，放浪形骸之外。\r 虽趣舍万殊，静躁不同；\r 当其欣于所遇，暂得于己，怏然自足，\r 不知老之将至。\r 及其所之既倦，情随事迁，感慨系之矣。\r 向之所欣，俛仰之间，已为陈迹，\r 犹不能不以之兴怀；\r 况修短随化，终期于尽。\r 古人云：\r 「死生亦大矣。」\r 岂不痛哉！\r 每览昔人兴感之由，若合一契；\r 未尝不临文嗟悼，不能喻之于怀。\r 固知一死生为虚诞。"""@zh, """夫人之相與，俯仰一世，\r 或取諸懷抱，晤言一室之內；\r 或因寄所託，放浪形骸之外。\r 雖趣舍萬殊，靜躁不同；\r 當其欣於所遇，暫得於己，怏然自足，\r 不知老之將至。\r 及其所之既倦，情隨事遷，感慨係之矣。\r 向之所欣，俛仰之間，已為陳跡，\r 猶不能不以之興懷；\r 況修短隨化，終期於盡。\r 古人云：\r 「死生亦大矣。」\r 豈不痛哉！\r 每覽昔人興感之由，若合一契；\r 未嘗不臨文嗟悼，不能喻之於懷。\r 固知一死生為虛誕。\r """@zh, "Fūrén zhī xiāng yǔ, fǔyǎng yīshì, huò qǔ zhū huáibào, wù yán yī shì zhī nèi; huò yīn jì suǒ tuō, fànglàngxínghái zhī wài. Suī qù shě wàn shū, jìng zào bùtóng; dāng qí xīn yú suǒ yù, zàn dé yú jǐ, yàng rán zìzú, bùzhī lǎo zhī jiàng zhì. Jí qí suǒ zhī jì juàn, qíng suí shì qiān, gǎnkǎixìzhī yǐ. Xiàng zhī suǒ xīn, fǔ yǎng zhī jiān, yǐ wèi chénjì, yóu bùnéng bù yǐ zhī xìng huái; kuàng xiū duǎn suí huà, zhōngqī yú jìn. Gǔrén yún: `Sǐshēng yì dà yǐ.' Qǐ bù tòng zāi! Měi lǎn xī rén xìng gǎn zhī yóu, ruò hé yī qì; wèicháng bù lín wén jiē dào, bùnéng yù zhī yú huái. Gù zhī yī sǐshēng wèi xū dàn."@zh-Latn . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Not Too Late - Recent Works by Feng Mengbo"@en, "不太晚：冯梦波近作展"@zh, "Bù tài wǎn: Féng Mèngbō jìnzuò zhǎn"@zh-Latn ; wdt:P276 , ; wdt:P580 "2012"^^xsd:gYear ; wdt:P856 ; write:description "In the Solo Exhibitions \"Not Too Late - Recent Works by Feng Mengbo\", held at Chambers Fine Art Gallery in Beijing (2012) and in New York (2013), Feng Mengbo displayed a series of ink and mixed-media paintings and works on paper, capturing isolated moments from his video \"Not Too Late\" (2010) and transferring them to canvas and paper." ; write:exhibitedArtwork . a write:CalliWritingUnit ; wdt:P144 , ; wdt:P1480 ; wdt:P180 , , , , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 , ; write:attributedTitle "CWU XL: S 05 (《道士步虚词·其六 》/ signs)" ; write:description "This CWU is based on the opening section (four columns, 22 characters) of \"Four Ancient Poems Calligraphy\" (Gu shi si tie 古诗四帖), a renowned Tang dynasty calligraphy model by Zhang Xu 张旭 (685–759). The text is organized according to the traditional Chinese format, written from right to left in vertical columns. On the right side of the panel are pixelated representations of the original seals by emperors and collectors included in the calligraphic model. Calligraphic brushstrokes are fragmented and reduced to pixel-like forms, while seals appear as pixel-based visual codes similar to QR codes. As a result, the text becomes nearly illegible. Despite the visual abstraction and new syntax derived by this extreme digital reduction, the artist preserves the aesthetic rhythm, form, and expressive depth of the original model, conveying its essence and spirit (shenyun 神韵). This approach highlights the continuity between past and present, showing how traditional aesthetics can be reimagined through the lens of technology and digital minimalism. " ; write:directionality "Traditional" ; write:hasBackgroundColour , , , ; write:hasCalligraphicLine false ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; write:isUnitOf ; write:numberOfCharacters 22 ; write:transcriptionAndTranslation """In Eastern Brilliance, a Nine Mushroom Canopy [carriage]; \r In Northern Illumination, a Five Cloud chariot.\r Soaring off into Inverted Luminescence;\r Emerging and disappearing, ascending to the hazy auroras.\r Spring fountains [...]\r (Translated by Feezell Tyler, 2022: 154-55)"""@en, "东明九芝盖，北烛五云车。飘飖入倒景，出没上烟霞。春泉"@zh, "東明九芝蓋，北燭五雲車。飄飖入倒景，出沒上煙霞。春泉"@zh, """Dōngmíng jiǔ zhī gài, běi zhú wǔ yún chē. Piāo yáo rù dào jǐng, chūmò shàng yānxiá. Chūn quán\r """@zh-Latn ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU East and West, past and present (东西今古)" ; write:description """This CWU consists of four large characters in the middle of he calligraphic work. Their meaning is "East and West, past and present" (dong xi jin gu 东西今古) combining together spatial and temporal axes. The characters are written in traditional script. The format follows the classical vertical order. The text is arranged from top to bottom, and from right to left.\r In the lower part, below the four large central characters, the colophon is reported in ten vertical columns that are read from top to bottom and from right to left: the artist writes the date of execution of the work "er 0 ersi nian si yue ba ri 二0二四年四月八日" (April 8, 2024), and the place of creation “Zhongguo meishu xueyuan Xianghu guoxueyuan zhengshi ruzhu Lao Ai shu yu hu shang le fu ya lou 中国美术学院湘湖国学院正式入驻老爱书於湖上乐夫雅楼” (Chinese Academy of China Academy of Art officially settled in Lao Aishu’s Lefuya Building on the lake).\r """ ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:transcriptionAndTranslation "East and West, past and present"@en, "东西今古"@zh, "東西今古"@zh, "Dōng xī jīn gǔ"@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Insect-Eroded Wood: Dot and Stroke Imagery Series No. 1 (signs)" ; write:description """This CWU consists of dots and brushstrokes that evoke Chinese characters, as seen in Zhang Aiguo’s Image of Dots and Calligraphic Brushstroke. Like much of his work, it arranges characters in a tightly interwoven manner, resembling a seal and achieving a true calligraphic seal effect. Moving toward pure abstraction, it aligns with Zhang Aiguo’s concept of "moving from introspection to outward expression" (you nei er wai 由内而外).\r Following the style of small seal script with uniform brushstrokes, Insect-Eroded Wood takes a deconstructive approach to Chinese characters, offering a fresh reinterpretation of classical Han Dynasty inscriptions. By utilizing the Yuan An Stele’s delicate, fluid, and vigorous lines, the work enhances its modern aesthetic. The meandering strokes obscure the original character structures, raising the question of whether modern calligraphy can exist independently of Chinese characters.\r As an extension of the Grand Open Passage Impression Series, this piece emphasizes the quality and texture of calligraphic dots and strokes rather than an overall meaning of the content.""" ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image ; write:isUnitOf ; write:madeUsingTool . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P2561 "Cao Yingwang" ; wdt:P27 ; wdt:P937 ; write:isCuratorOf . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , ; wdt:P9302 ; write:attributedTitle "CWU Digital No08-CH01, CH02 (Set of signs)" ; write:description """The CWU consists exclusively of the visual organization of brush-written Chinese characters and marks made by the cigarette. It is composed of vertically arranged columns of calligraphic marks executed with black ink and with burn marks on xuan paper, following the traditional Chinese writing direction from top to bottom and right to left. Although the characters retain the formal appearance and structural conventions of Chinese calligraphy, they do not convey identifiable linguistic content. \r As in the other works of the Digital series, the characters are intentionally devoid of specific linguistic meaning. The title Digital does not indicate the use of digital technology. Instead, it refers to the visual distortion and fragmentation of the Chinese characters. Their fragmented appearance recalls the visual effects of digital images.""" ; write:directionality "Traditional" ; write:hasBackgroundColour , , ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; write:isUnitOf ; write:madeUsingTool , . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , , ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Gao Minglu 高名潞" ; wdt:P27 ; wdt:P569 "1949-10-29"^^xsd:date ; wdt:P937 , ; write:description """Gao Minglu (born 29 October 1949) is a scholar in Chinese contemporary art. He is the Chair of the Department of Art History, Professor for Distinguished Service, and Chair of Art and is an instructor at the University of Pittsburgh. He is also distinguished professor at Tianjin Academy of Fine Arts.\r He is the curator of several exhibtion both in China and outside China. He planned a Chinese avant-garde art exhibition entitled "Inside Out: New Chinese from 1995 to 1998\"""" ; write:hasWikidataResource ; write:isCuratorOf . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P462 , ; write:attributedTitle "CWU Ink Banquet (Set of lines)" ; write:description "This CWU consists of the ink splash, used by Wang Tiande in the installation \"Ink Banquet\" to transform functional items of daily life into an immersive, artistic experience. The ink-splashed surfaces evoke the aesthetics of traditional Chinese ink painting and calligraphy extending it into three-dimensional space." ; write:hasBackgroundColour ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; write:isUnitOf ; write:madeUsingTool . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Zhang Zhenzhen 张桢珍" ; wdt:P27 ; wdt:P569 "1987"^^xsd:gYear ; wdt:P812 ; wdt:P937 , ; write:description "Zhang Zhenzhen is a contemporary composer and pianist. During her earlier music career, she achieved numerous worldwide prizes, including first place in the 8th International Composition Competition in Luxembourg, second Place in 18th International Composition competition “2 Agosto” in Bologna, fourth place in The Molinari Quartet’s 4th International Composition Competition in Montréal and the 4th Palatino International Composition Competition in Beijing. Later, she conducted research on Chinese diaspora composers (i.e., Dun Tan, Chou Wen-Chung, and Xiaoyong Chen). China National Art Fund and SCAA Fund have rewarded her First prizes in outstanding artists 2012 & 2010."@en ; write:hasCalligraphicTraining "Familial"@en, "School"@en ; write:isComposerOf . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Vienna Art Week 2023"@en ; wdt:P276 ; wdt:P580 "2023-11-10"^^xsd:date ; wdt:P582 "2023-11-17"^^xsd:date ; wdt:P856 ; sch:thumbnailUrl ; write:description """VIENNA ART WEEK 2023 centered around the theme "INCITING PASSION", exploring the many facets of this powerful emotion. The festival delved into how passion, while a driving force that motivates individuals to pursue goals with dedication, can also be destructive and dangerous, applying this concept to various areas such as love, work, politics, and religion.\r Over 100 free events were held in institutions, independent spaces, galleries, and other exhibition venues, offering a rich and diverse program. Art education was a key focus, with particular emphasis on inclusivity: for the first time, an extensive program was offered for people with disabilities and chronic illnesses under the motto “VIENNA ART WEEK for all”. The festival thus reflected the ambiguity of passion, representing both private and public spaces and their impact on our everyday lives."""@en ; sch:image . a wd:Q7725634 ; wdt:P1476 "Deploring the Death of My Aunt (姨母帖)"@en, "姨母帖"@zh, "Yímǔ tiē"@zh-Latn ; wdt:P1480 ; wdt:P50 ; wdt:P571 "0349"^^xsd:gYear ; write:description """"Yimu Tie 姨母帖", known as "Letter to the Aunt" or "Letter for the Aunt," is a famous calligraphy work by Wang Xizhi (王羲之). The original content of this letter is not entirely clear, but it is believed to have been an informal and affectionate message intended for Wang Xizhi's aunt. Its significance in the history of calligraphy lies not so much in its content but in the style with which it was written. The version preserved in the Liaoning Provincial Museum is a copy made during the Tang Dynasty, specifically in 696 AD, under the order of Empress Wu Zetian, who sought to preserve and promote Wang Xizhi's calligraphy. The manuscript was created using a technique called "double line" (shuanggou), which made the characters more pronounced and distinctive.\r \r The manuscript, which contains 6 lines and 42 characters, is an example of a type of calligraphy that, while remaining true to the characteristics of Wang Xizhi, has a more solid and less elegant appearance compared to his other works. Although it retains some typical features of Wang's calligraphy, such as fluid brushstrokes, Yimu Tie stands out for its robustness and influence from clerical script (隶书), a more "rigid" style that contrasts with the grace and elegance found in Wang's more fluid cursive script.\r Empress Wu Zetian, the only female emperor in Chinese history, promoted the collection and reproduction of many calligraphic works. Yimu Tie was included in the "Wan Sui Tong Tian Manuscript" (万岁通天帖), an official compilation of calligraphy intended to celebrate and preserve the art for future generations."""@en . a wd:Q1400264 ; wdt:P2561 "Guangdong Modern Dance Company 广东现代舞团" ; wdt:P276 ; wdt:P453 ; wdt:P571 "1992"^^xsd:gYear ; write:description "The Guangdong Modern Dance Company is the China’s first professional modern dance company, founded in 1992 in Guangzhou as the “Guangdong Experimental Modern Dance Company” (GMDC) under the leadership of the director Yang Meiqi 杨美琦 (b.1945) and the artistic director Cao Chengyuan 曹诚渊 (in art Willy Tsao, b. 1955). The GMDC is internationally renowned for its exquisite and captivating performances and its vision that modern dance is a tool for self-expression attracts some of the most talented dancers and choreographers in China. "@en ; write:hasArtisticCollectiveType ; write:hasWikidataResource . a wd:Q464980 ; wdt:P10661 , ; wdt:P1476 " Sans papier/son papier"@en ; wdt:P276 ; wdt:P580 "2011-05-27"^^xsd:date ; wdt:P582 "2011-07-14"^^xsd:date ; wdt:P664 ; write:description "The exhibition “Sans papier/son papier” was held from May 27 to July 14, 2011. An original exhibition at the Polytechnic University of Milan-Bovisa uses paper to define the utopia and the contradictions of contemporary society starting from the hopes of the “sans papier”. Paper, the privileged material of the culture of recycling, takes on multiple symbolic meanings, from the exploration of new forms of expression and construction to the search for identity and citizenship of the “sans papier”, migrants who aspire to integration into the societies of the rich West. In this exhibition, twenty-four paintings on handmade paper and cardboard prototypes of works by artists such as the creator of the project Gabriele Amadori, Giuseppe Spagnulo (1936-2016), Rodolfo Aricò (1930-2002), Davide Cantoni (b. 1965), Angela Glajcar (b. 1970), Hans Hermann (1858 – 1942) and Daniele Nitti Sotres (b. 1977) were exhibited. Some of the installations were created by the students of Gabriele Amadori, then professor of scenography at the Polytechnic of Milan. " . a wd:Q1400264 ; wdt:P2561 "Na’er Dance Company" ; wdt:P276 ; wdt:P453 ; write:description "Na’er Dance Company (Na’er si xiandai wu tuan 娜尔斯现代舞团) is a dance company from Beijing under the choreographer Jiang Keyu 蒋可钰." ; write:hasArtisticCollectiveType . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Roger Mason" ; wdt:P27 ; wdt:P569 "1941-05-04"^^xsd:date ; wdt:P800 ; write:description "Roger Mason is an English geologist who is best known as the discoverer of the original type fossil, Charnia masoni, of a Precambrian (more than 340 million years old) organism that is part of the Ediacaran biota. He is now a professor at the China University of Geosciences in Wuhan, China. He took part in the concert event \"Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells\" (萨德勒之井中国书法、音乐和舞蹈音乐会) held in London in 2012, where he collaborated with calligrapher Li Binquan for the creation of a calligraphic writing that reads “Yingguo Zhongguo youyi wangguchangqing 英国中国友谊万古长青” (Britain-China Friendship will Last Forever)." ; write:hasCalligraphicTraining "Not present"@en ; write:hasWikidataResource . a wd:Q7725634 ; wdt:P1476 "Prelude to Water Melody (水调歌头)"@en, "水调歌头"@zh, "Shuǐ diào gē tóu"@zh-Latn ; wdt:P1480 ; wdt:P50 ; wdt:P571 "1076"^^xsd:gYear ; write:description "The poem “Prelude to Water Melody” (Shui diao ge tou · mingyue jishi you 水调歌头 · 明月几时有) is composed by the Song dynasty poet Su Shi (1036-1101), who wrote these lyrics while he was drunk and missing his younger brother (Su Zhe) on the Mid-Autumn Festival of the year Bingzhen (1076)."@en ; write:transcriptionAndTranslation """How long will the full moon appear?\r Wine cup in hand, I ask the sky.\r I do not know what time of the year\r It would be tonight in the palace on high.\r Riding the wind, there I would fly,\r Yet I'm afraid the crystalline palace would be\r Too high and cold for me.\r I rise and dance, with my shadow I play.\r On high as on earth, would it be as gay?\r The moon goes round the mansions red\r Through gauze-draped window soft to shed\r Her light upon the sleepless bed.\r Why then when people part, is the oft full and bright?\r Men have sorrow and joy; they part or meet again;\r The moon is bright or dim and she may wax or wane.\r There has been nothing perfect since the olden days.\r So let us wish that man\r Will live long as he can!\r Though miles apart, we'll share the beauty she displays."""@en, """明月几时有？把酒问青天。\r 不知天上宫阙，今夕是何年？\r 我欲乘风归去，又恐琼楼玉宇，高处不胜寒。\r 起舞弄清影，何似在人间？\r 转朱阁，低绮户，照无眠。\r 不应有恨，何事长向别时圆？\r 人有悲欢离合，月有阴晴圆缺，此事古难全。\r 但愿人长久，千里共婵娟。"""@zh, """míng yuè jǐ shí yǒu? bǎ jiǔ wèn qīng tiān.\r bùzhī tiān shàng gōng què, jīn xī shì hé nián?\r wǒ yù chéng fēng guī qù, yòu kǒng qióng lóu yù yǔ, gāo chùbù shèng hán.\r qǐ wǔ nòng qīng yǐng, hé sì zài rén jiān?\r zhuǎn zhū gé, dī qǐ hù, zhào wú mián.\r bù yīng yǒu hèn, hé shìcháng xiàng bié shí yuán?\r rén yǒu bēi huān lí hé, yuè yǒu yīn qíng yuán quē, cǐ shì gǔ nán quán.\r dàn yuàn rén cháng jiǔ, qiān lǐ gòng chán juān."""@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P186 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 , ; sch:thumbnailUrl ; write:attributedTitle "CWU Horses (马)" ; write:description "This CWU is composed of eleven pictographic versions of the character ma 马 (horse) freely arranged on the sheet of paper in order to recreate the pacey movement of a herd of horses. The artist took inspiration from various versions of the character written in “bronze script” (jinwen 金文), a variety of Chinese scripts written on ritual bronzes from the Shang dynasty (c. 1600 BC - 1045 BC) to the Zhou dynasty (c. 1046 BC - 256 BC) and even later. As a result, the viewer can appreciate the naïf representation of the primitive fears, even if does not know that they are actually Chinese characters." ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 11 ; write:transcriptionAndTranslation "Horse(s)"@en, "馬"@zh, "马"@zh, "Mǎ"@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P1480 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , , ; wdt:P9302 , ; write:attributedTitle "CWU Deer crying (鹿鸣)" ; write:description """This CWU is composed of multiple pictographic variants of the character 'lu' 鹿 (deer) and ‘ming’ 鸣 (cry) freely arranged on the sheet of paper in order to recreate the din of a herd of wailing deer. The artist took draws on several attestations of the character written in “bronze script” (jinwen 金文), a variety of Chinese scripts written on ritual bronzes from the Shang dynasty (c. 1600 BC - 1045 BC) to the Zhou dynasty (c. 1046 BC - 256 BC). As a result, viewers can appreciate the naïf representation of the primitive fears, even if does not know that they are actually Chinese characters. The artist also added colors, such as brown, orange and yellow, to accentuate the pictorial charge of the representation.\r The term 'Luming 鹿鸣' (Deer crying) is the title of the opening section of 'Xiaoya 小雅' (Minor Odes) in the poetry anthology 'Shijing 诗经' (Classic of Poetry). The poems included in this section describe deer gathering and enjoying fresh grass, which is likened to the harmonious gathering of noble individuals. """ ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 50 ; write:transcriptionAndTranslation "Deer crying"@en, "鹿鳴"@zh, "鹿鸣"@zh, "Lù míng"@zh-Latn . a write:CalliWritingUnit ; wdt:P1480 ; wdt:P180 , , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 , , , , ; write:attributedTitle "CWU Landscript: Revisit n. 2 (水，石 ，土, ...)" ; write:description """This CWU consists of a set of Chinese characters that Xu Bing uses as pictorial elements to arrange the landscape of "Landscript: Revisit n. 2" (2002). In this work, written characters function as visual components of the scene. In this way, the character for 'stone' (shi 石) forms the rocks along the riverbanks; the character for 'water' (shui 水) makes up the waves of the river, the charater for ‘tree' (mu 木）becomes the trees that populate the landscape; and so on. Through this method, individual characters are arranged and repeated to build the entire composition. \r The artist draws on different styles of Chinese writing, from regular and cursive scripts to simplified forms. Anyway, archaic forms such as bronze scripts and oracle-bone scripts are the ones he uses the most due to their pictographic value.\r The colophon in the lower right of the work features the artist's signature rendered in idiosyncratic Roman letters reading "Xu Bing" and the title of the work in four Chinese characters (chongyou ling er 零二 重游). The work includes the artist's circular, red, relief seal, also inscribed with "Xu Bing" in idiosyncratic Roman letters.""" ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm , ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 800 ; write:transcriptionAndTranslation "cloud, water, rocks, tree, field, leaf, mountain, cliff"@en, "水, 石, 土, 木, 田, 叶, 山, 艸, 马, 舟, 云, 崖"@zh, "水, 石, 土, 木, 田, 葉, 山, 艸, 馬, 舟, 雲, 崖"@zh, "Shuǐ, shí, tǔ, mù, tián, yè, shān, cǎo, mǎ, zhōu, yún, yá"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 , , , , , , ; wdt:P9302 , ; sch:thumbnailUrl ; write:attributedTitle "CWU Knowing and Doing (知行)" ; write:description """This CWU is composed of the two characters of the title "Zhi-xing 知行" (Knowing and doing) written in a very pictorial manner. Inspired by a particular form of seal script called “bird seal script” (niao zhuan 鸟篆), the strokes of each character were transformed into heads of birds, bodies of fishes, profiles of horses, swimming turtles, flower stems and corollas, depicting an imaginative natural scenario that seems to have nothing to do with the oeriginal Chinese characters. The “bird seal script” is a kind of artistic script in common use during the late Warring States period (475-221 BC) characterized by avian elaborations decorating each character. In this script the lines are gently and intricately curved and decorated with bird design, the strokes are replaced by bird shapes and the writing possesses a unique decorative style. \r The two words "zhi-xing 知行 " are the abbreviation of the famous expression "zhi-xing he yi 知行合一", which means "unity of knowledge and action". This is a concept in Chinese philosophy created by Wang Yangming (1472-1529), who is astatesman, general, Neo–Confucian philosopher, and calligrapher during the Ming dynasty (1368-1644). It means that knowledge and action should go together and help each other. This idea says that only by behaving well can someone become wise and it is a denial of the possibility of weakness of will. """ ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:transcriptionAndTranslation "Knowing and doing; knowledge and action"@en, "知行"@zh, " Zhī-xíng"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Kwanyin (觀音)" ; write:description """This CWU is composed of the two characters of the word "Guanyin 觀音", that is Chinese name of the Kwanyin Clan - the author of this tag. The regular thickness of their lines reproduces the typical thickness of the calligraphic “great seal style” (dazhuan shu 大篆书). The two characters are written reshaping their pictographic forms: the right part of the first character "Guan 觀" is tranformed into a face with two big eyes – the meaning of the character is, in fact, “look at, watch, observe”, and the lower part of the second character yin 音 into an open mouth – the meaning of the character is, in fact, “phone, sound”.\r The two characters "Guanyin 观 音" explicitly refers to the Bodhisattva Guanyin (Guanyin Pusa 观音菩萨) associated with compassion and usually known as Avalokiteśvara. """ ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:transcriptionAndTranslation "Guanyin; Kwanyin"@en, "觀音"@zh, "观音"@zh, "Guānyīn"@zh-Latn . a wd:Q184485 ; wdt:P1303 , , , , ; wdt:P1476 "Song of Ink"@en ; wdt:P180 , ; wdt:P2047 "PT12M"^^xsd:duration ; wdt:P276 ; wdt:P585 "2021"^^xsd:gYear ; wdt:P608 ; wdt:P86 ; wdt:P941 , , , , ; write:description """This musical composition of approximately 12 minutes long is composed by Cheng Yeung-ping for a mixed ensemble with inspiration from a set of 5 momentous calligraphic pieces created by Tong Yang-tze for the Main Hall of M+ of Hong Kong in occasion of the opening of the museum in 2020. The titles of the five calligraphies are:\r 1) “The Movement of Heaven is Powerful” (Tian xing jian天行健); \r 2) “Renew oneself daily” (Ri xin日新); \r 3) “At the auspicious moment, act without delay” (Le tian zhi ming 乐天知命);\r 4) “Delight in the existence of heaven and understand its order” (Jian ji er zuo 见机而作);\r 5) “Embracing the way of heaven brings progress” (He tian zhi qu, dao da xing ye 何天之衢，道大行也). \r Sentences do not have a fixed reading order, which allowed the audience to enjoy the calligraphies freely and without a predefined starting point. The five quotes are taken from the I Ching (Yijing 易经, Book of Changes) an ancient Chinese philosophical text. \r Following Tong Yang-tze calligraphies's structure, the composition realized by Chen Yeung-ping is divided into five sections, as the composer’s personal response to the texts of the calligraphy. These sections are: \r 1) “Heaven” (Tian 天);\r 2) “Human” (Ren人);\r 3) “Self-awareness” (Zi zhi 自知);\r 4) “Overcome ego” (Zi sheng 自勝);\r 5)“Unity” (He yi 合一). \r As Chen Yeung-ping explained: "Tong Yang-tze’s calligraphies are highly experimental. My composition simply echoes the calligraphic gestures and movements evoked by his calligraphies. The message they carry is equally significant, so I decided to make a musical movement corresponding to each of the five calligraphic pieces made by Tong Yang-tze based on the meaning expressed by his calligraphies. In the calligraphies you can capture the ‘momentum’ of each stroke, as well as the texture and intensity of the ink. In music too, we talk about ‘density’, ‘texture’, ‘gesture’ in some way and this creates a strong connection between music and calligraphy" (interview 2024).\r The composition was played for the first time September 30, 2022 at the University of Hong Kong by Tete Bae 𧜏志恩 (flute), Euna Kim (violin), Leung Ka-lok 梁家洛 (pipa) , Kaisan (guqin) and Alexander Wong (piano) as part of the "Ink Art and New Music Project" in an event entitled "Ink Art and New Music - New Works by Faculty and Student Composers".\r """@en ; write:hasPerformingArtworkType . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , ; wdt:P186 , ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU The Movement of Heaven is Powerful (天行健)" ; write:description """This CWU is part of the artwork entitled "The Movement of Heaven is Powerful (天行健)" created by Tong Yang-tze for the Main Hall of M+ of Hong KongTong in occasion of the opening of the museum in 2020. This is a monumental calligraphy in cursive script composed of the 3 characters of the title written vertically, that are a phrase from the I-Ching (Yi jing 易经, Book of Changes), an ancient Chinese philosophical text. \r """@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 3 ; write:transcriptionAndTranslation "The Movement of Heaven is Powerful"@en, "天行健"@zh, "Tiān xíng jiàn"@zh-Latn ; write:vectorisedOrDigitised false . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Renew Oneself Daily (日新)" ; write:description "This CWU is part of the artwork entitled \"Renew Oneself Daily (日新)\" created by Tong Yang-tze for the Main Hall of M+ of Hong KongTong in occasion of the opening of the museum in 2020. This is a monumental calligraphy in cursive script composed of the 2 characters of the title written vertically, that are a phrase from the I-Ching (Yi jing 易经, Book of Changes), an ancient Chinese philosophical text. " ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:transcriptionAndTranslation "Renew Oneself Daily"@en, "日新"@zh, "Rì xīn"@zh-Latn ; write:vectorisedOrDigitised false . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU At the Suspicious Moment, Act without Delay (乐天知命)" ; write:description "This CWU is part of the artwork entitled \"At the Suspicious Moment, Act without Delay (乐天知命)\" created by Tong Yang-tze for the Main Hall of M+ of Hong Kong in occasion of the opening of the museum in 2020. This is a monumental calligraphy in cursive script composed of the 4 characters of the title written vertically ina free composition, that are a phrase from the I-Ching (Yi jing 易经, Book of Changes), an ancient Chinese philosophical text. "@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:transcriptionAndTranslation "At the Suspicious Moment, Act without Delay "@en, "乐天知命"@zh, """Lè tiān zhī mìng\r """@zh-Latn ; write:vectorisedOrDigitised false . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Delight in the Existence of Heaven and Understand Its Order (见机而作)" ; write:description "This CWU is part of the artwork entitled \"Delight in the existence of heaven and understand its order (见机而作)\" created by Tong Yang-tze for the Main Hall of M+ of Hong Kong in occasion of the opening of the museum in 2020. This is a monumental calligraphy in cursive script composed of the 4 characters of the title written vertically, that are a phrase from the I-Ching (Yi jing 易经, Book of Changes), an ancient Chinese philosophical text. "@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:transcriptionAndTranslation "Delight in the existence of heaven and understand its order"@en, "见机而作"@zh, "Jiànjī ér zuò"@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Embracing the Way of Heaven Brings Progress (何天之衢，道大行也)" ; write:description "This CWU is part of the artwork entitled \"Embracing the Way of Heaven Brings Progress (何天之衢，道大行也)\" created by Tong Yang-tze for the Main Hall of M+ of Hong Kong in occasion of the opening of the museum in 2020. This is a monumental calligraphy in cursive script composed of the 8 characters of the title written horizontally from left to right. They are a phrase from the I-Ching (Yi jing 易经, Book of Changes), an ancient Chinese philosophical text. "@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 8 ; write:transcriptionAndTranslation "Embracing the Way of Heaven Brings Progress "@en, "何天之衢，道大行也"@zh, "Hé tiān zhī qú, dào dà xíng yě"@zh-Latn ; write:vectorisedOrDigitised false . a wd:Q184485 ; wdt:P1303 , ; wdt:P1476 "Cursive (行书)"@en, "行书"@zh, "Xíngshū"@zh-Latn ; wdt:P2047 "PT11M"^^xsd:duration ; wdt:P276 ; wdt:P585 "1964"^^xsd:gYear ; wdt:P86 ; wdt:P941 ; write:description "This musical composition for flute and piano is inspired by the cursive script in which, as decleared by the composer Chou Wen-Chung, \"the joined strokes and rounded angles result in expressive and contrasting curves and loops\" (Chou Wen-Chung official website). In his composition, this concept influenced “the use of specified but indefinite pitches and rhythm, regulated but variable tempo and dynamics, as well as various timbres possible on the two instruments [the flute and the piano]. The piano serves as reflection of the flute by “extending” its range into the lower register and by matching the flute’s varied timbral resources, such as microtonal trills and flutter tonguing, using plucked piano strings and foreign materials between these strings” (ibid.)."@en ; write:hasPerformingArtworkType . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P1412 ; wdt:P19 ; wdt:P20 ; wdt:P21 ; wdt:P2561 "Chou Wen-Chung 周文中" ; wdt:P27 ; wdt:P569 "1923-07-28"^^xsd:date ; wdt:P570 "2019-10-25"^^xsd:date ; wdt:P812 ; wdt:P856 ; wdt:P937 ; write:description """Chou Wen-Chung (1923 – 2019) was born in Yantai (Chefoo), Shandong. He grew up in China and developed an early love for music. His first musical “imprinting” occurred at an early age. Chou came to the United States in 1946 as a young refugee from World War II. He was awarded a scholarship to study architecture at Yale (having already earned a degree in the subject from Chongqing University in his homeland), but he dropped out before the end of the semester. In 1952, he arrived in New York to study music at Columbia University. His music, ranging from arrangements of ancient Chinese poems to masterful string quartets and an evocative cello concerto, marries Western modernism with Eastern styles and sound textures in a captivating and personal manner. His first musical composition, “Landscapes,” an orchestral setting of three Chinese songs, was premiered by the San Francisco Symphony in 1953. His numerous residencies at the Yaddo art colony in upstate New York led to a collaboration with poet Ted Hughes (1930-1998) based on “The Tibetan Book of the Dead” and a lifelong friendship with the female writer Dawn Powell (1896-1965). However, his most significant professional relationship was with modernist composer Edgard Varèse (1883-1965). Chou met Varèse in 1949 and became his assistant while the older composer was creating his final works. After Varèse’s death in 1965, Chou completed the maestro’s last piece, “Nocturnal,” which premiered in 1968. As Varèse’s most celebrated student, Chou has remained a dedicated advocate for his mentor’s work and has lived for the past four decades in the same Sullivan Street house in Greenwich Village that Varèse purchased in 1925.\r Chou recognized the intrinsic contribution of qin music and the concept of the single tone to Chinese music, and, more importantly, he acknowledged their value to composers. Before becoming a musician, Chou was primarily a calligrapher. After years of practicing various styles and scripts of Chinese calligraphy, he began to see parallels between this art form and music. In Chou’s view, the layers of meaning within calligraphy served as a philosophical foundation for music. Rather than seeking to amalgamate the divergent traditions of East and West, he aimed to internalize and transcend contemporary idioms and techniques, creating a personal style that reflects a genuine modern sensibility. The “musicality” of Chinese characters is another concept Chou experimented with as he attempted to combine Western and Eastern elements and reproduce Chinese sounds through Western instruments. In particular, Chou compares the ink flow to the density of the music and experimented with the characters written in cursive style in the piece “Cursive” (1964, see the archive)."""@en ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:hasWikidataResource ; write:isComposerOf . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P21 ; wdt:P2561 "Chen Zhenlian 陈振廉" ; wdt:P27 ; wdt:P569 "1956"^^xsd:gYear ; wdt:P812 , ; wdt:P937 ; write:description """Chen Zhenlian studied art from three great masters including Sha Menghai, Lu Weizhao and Zhu Lesan in Zhejiang Academy of Fine Arts since 1979 and received a master’s degree in calligraphy. In 1993, Chen was promoted professor and Ph.D advisor at China Academy of Fine Arts. And in 2000, he was appointed Vice Dean of the School of Humanities of Zhejiang University, Dean of the Department of Arts, Director of the Zhejiang University Institute of Chinese Arts, and a Ph.D advisor. \r Chen Zhenlian is currently Dean of the School of Arts of Zhejiang University, Director of the Center of Calligraphy and Painting Authentification of Zhejiang University, professor and Ph D advisor at China Academy of Fine Arts, member of the Standing Committee of Zhejiang Provincial People’s Congress, deputy director of Hangzhou Municipal People’s Congress, director of China Calligraphers Association, assistant director of the academic committee of China Calligraphers Association, assistant director of the Calligraphy Education Committee of The Chinese Society of Education, Chairman of China Youth Calligraphers Association, Vice Chairman of Zhejiang Provincial Calligraphers Association, Deputy Chairman and Secretary-General of Xiling Seal Engravers Society and Vice Chairman of Zhejiang Provincial Soceity of Sino-Japanese Relations History. And in 2007, Chen Zhenlian received the title of Top 10 Influential People in Calligraphy and Painting.""" ; write:hasCalligraphicTraining "Academic"@en ; write:isCuratorOf . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P186 ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Tracing the Origin XV_001 (lines)" ; write:description "This CWU consists of the lines created by the artist Cui Fei using copper wires and pins in his artwork titled \"Tracing the Origin XV_001\" (2013). Each wire curves and twists in a manner reminiscent of calligraphic strokes, in particular the lines of Chinese cursive script, capturing a sense of fluid movement and organic growth without any linguistic significance." ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon true ; write:hasSignificance "Set of lines (meaningless)" ; write:isUnitOf . a wd:Q464980 ; wdt:P10661 , , , , , ; wdt:P1476 "INK Art Week"@en ; wdt:P276 ; wdt:P580 "2018-04-17"^^xsd:date ; wdt:P582 "2018-04-20"^^xsd:date ; wdt:P664 , , ; write:description """The INK Art Week, which took place in Venice from April 17 to 20, 2018, was an event dedicated to contemporary Chinese ink arts (ink painting and calligraphy). The goal was to explore and promote the new trends in these artistic forms and their impact on the contemporary art scene.\r The event featured a group exhibition called Ink Riders, which opened on April 17 at the Academy of Fine Arts in Venice, showcasing works by fourteen prominent Chinese artists, including Gu Gan, Zhang Dawo, Fan Bingnan, Liu Gang, Pu Lieping, Zhang Qiang & Lia Wei, etc. who have contributed to modernizing calligraphy over the past thirty years.\r Additionally, three days of conferences and discussions were held at Ca’ Foscari University, with the participation of artists, scholars, and curators from both China and Europe. Topics ranged from art theory, to the calligraphic gesture, and the role of ink arts in the contemporary context.""" . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Brushes with Surprise: The Art of Calligraphy in Modern China Exhibition"@en, "惊人之笔—现代中国书法展"@zh, "Jīngrén zhī bǐ—xiàndài Zhōngguó shūfǎ zhǎn"@zh-Latn ; wdt:P276 ; wdt:P580 "2002-01-31"^^xsd:date ; wdt:P582 "2002-05-19"^^xsd:date ; wdt:P664 ; write:description """This exhibition explores the evolution and dynamism of "modern Chinese calligraphy", a form of art that has changed more in the past 50 years than in the previous 1,500 years. Inspired by Picasso's remark that, had he been born Chinese, he would have been a calligrapher, the exhibition presents nearly fifty significant pieces from the museum's collection, highlighting a unique and unmatched collection of modern Chinese calligraphy.\r The exhibition offers a vibrant and unexpected glimpse into both the art and people of modern China. It showcases a variety of styles, from classical to modern, neo-classical, and avant-garde, with striking techniques that range from elegant to dramatic. The content of the works has become more accessible, with modern Chinese calligraphy serving as a dynamic medium for personal expression. The calligraphy often conveys emotions more directly than in previous centuries.\r The exhibition also reflects how Chinese calligraphy has evolved as a form of social commentary and satire. Among the featured works are contributions from leading Chinese calligraphers of the past half-century, including Mao Zedong, who was also a talented calligrapher, and Gu Gan, the first Chinese artist invited to create a label for the prestigious wine Château Mouton Rothschild, following in the footsteps of Picasso and Matisse."""@en . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "The Divine Brush Comes to Jingde - Zhang Qiang's New Ceramic Aesthetics and Art Document Exhibition"@en, "神来景德之笔 — 张强陶瓷新美学与艺术文献展"@zh, "Shén lái Jǐngdé zhī bǐ - Zhāng Qiáng táocí xīn měixué yǔ yìshù wénxiàn zhǎn"@zh-Latn ; wdt:P276 ; wdt:P580 "2019-01-19"^^xsd:date ; wdt:P582 "2019-01-29"^^xsd:date ; write:description """This exhibition took place from January 19 to 29, 2019 at the Sanbaopeng Ceramic Art Base of Jingdezhen (Jingdezhen sanbao peng yishu juluo 景德镇三宝蓬艺术聚落). \r During this exhibition, several performances took place in which Zhang Qiang painted on ceramics, collaborating with some female counterparts. These performances, part of his artistic research, focused on a process of "blinded calligraphy" (mangshu 盲书), where Zhang Qiang and his female collaborators engaged in a creative dialogue, bringing together the art of ceramics and a collective sensory experience.""" . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Territori - Ibiza Performance Art Festival (3rd edition)"@en ; wdt:P276 ; wdt:P580 "2023-09-17"^^xsd:date ; wdt:P582 "2023-09-25"^^xsd:date ; wdt:P856 ; write:description """The third edition of "Territori - Ibiza Performance Art Festival" took place from 17 to 25 September, 2022 in Ibiza (Spain). \r Territori Ibiza is an international gathering specialized in performance art. Since 2020, the island has brought together an extraordinary selection of artists from around the world who work with body art, live arts, and action. Territori is a space for committed creation, open to new processes and emerging local talents.""" ; write:exhibitedArtwork . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Love, Celebration and the Road Ahead Festival"@en ; wdt:P276 ; wdt:P580 "2022-09-29"^^xsd:date ; wdt:P582 "2022-10-01"^^xsd:date ; write:description """"Love, Celebration and the Road Ahead" is a three-day festival which took place from September, 29 -to October, 1st, 2022 to mark the launch of Hettie Judah's book entitled "How Not To Exclude Artist Mothers (and other parents)". In this book Hettie Judah explains that for too long, artists have been told that they can't have both motherhood and a successful career. In this polemical volume, critic and campaigner Hettie Judah argues that a paradigm shift is needed within the art world to take account of the needs of artist mothers (and other parents: artist fathers, parents who don't identify with the term "mother", and parents in other sectors of the art world). The festival included a mix of exhibitions, discussions, performances, and other related activities, all meant to elevate the voices of parent-artists, while also addressing the systemic challenges they face. \r For this occasion the artist Echo Morgan decides to realize a performance entitled "Woman 女+ Horse 马 = Mother 妈".""" ; write:exhibitedArtwork . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Performance Festival THE NON-FUNGIBLE BODY?"@en ; wdt:P276 ; wdt:P580 "2022-06-17"^^xsd:date ; wdt:P582 "2022-06-19"^^xsd:date ; wdt:P856 ; write:description """The Performance Festival THE NON-FUNGIBLE BODY was held took place from June 17 to 19, 2022 in Linz and was dedicated to the latest developments in performance art. Each year, the festival explores a specific theme, and this year it focused on the intersection of performance and digitalization. Artists whose work explores the intersection between body and archive, using live performance and documentation, as well as performance in relation to internet cultures and NFTs (Non-Fungible Tokens), were invited to participate.\r The festival was organized by OÖ Landes-Kultur GmbH in cooperation with Landestheater Linz and its new dance director, Roma Janus. For three days, more than 20 international artists presented their performances. Some of the performances took place on the roof and in the voestalpine open space.\r The festival title, "Non-Fungible Body", referenced the idea of a body that cannot be copied, substituted, or subdivided, highlighting the importance of the physical meeting between performers and audience as an essential quality of performance. The title also invited reflections on NFTs, which, especially in the last two years, have triggered a shift in the paradigm of art production, sales, and collection. While initially this digital format seemed disconnected from performance art, the festival explored how NFTs and blockchain technologies can influence and transform performance. It also reflected on the online self-dramatization characteristic of the social media age, which has broadened the horizons of artistic performance.""" ; write:exhibitedArtwork . a wd:Q464980 ; wdt:P10661 , ; wdt:P1476 "The 55th Venice Biennale Parallel Exhibition, Independent Chinese Art Exhibition: Voice of the Unseen"@en, "第55届威尼斯双年展平行展中国独立艺术展 - 未曾呈现的声音"@zh, "Dì 55 jiè Wēinísī shuāng nián zhǎn píngxíng zhǎn zhōngguó dúlì yìshù zhǎn - wèicéng chéngxiàn de shēngyīn"@zh-Latn ; wdt:P276 ; wdt:P580 "2013-05-29"^^xsd:date ; wdt:P582 "2013-11-04"^^xsd:date ; write:description """The "5th Venice Biennale Parallel Exhibition, Independent Chinese Art Exhibition: Voice of the Unseen" exhibition took place in Venice from May 29 to November 4, 2013. The exhibition highlighted the history of Chinese art, from the Post-Avant-Garde movement of the '80s and '90s to the present day. It showcased works by 188 artists and groups who have been part of the independent, unofficial art movement in China, many of whom had never been exhibited outside of China.\r The exhibition also reflected on the evolution of the Chinese independent art movement, which began in 1979 with the Xidan Democracy Wall event in Beijing. With its vast space and significance, the exhibition represented a key moment for Chinese art, reflecting the profound transformation the country was undergoing.""" ; write:exhibitedArtwork . a write:CalliWritingUnit ; wdt:P180 , , , , , ; wdt:P186 ; wdt:P462 ; write:attributedTitle "CWU Writing Diary with Water Installation (signs/lines)" ; write:description "This CWU is part of the \"Writing Diary with Water Installation (水写日记)\" realized on view at the Aspinwall House in Kochi (India) as part of the Kochi-Muziris Biennale. It consists of the lines and signs realized with by the public with brushes dipped in water along a translucent wall. Over time, each visitor’s trace gradually fades, until it disappears." ; write:directionality "Free" ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)", "Set of signs (illegible)" ; write:isUnitOf ; write:madeUsingTool . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Parallel Exhibition of 2023 Chengdu Biennale - Fluidscape (2023 成都双年展平行展 - 流体景观)"@en, "2023 成都双年展平行展 - 流体景观"@zh, "2023 Chéngdū shuāng nián zhǎn píngxíng zhǎn - Liútǐ jǐngguān"@zh-Latn ; wdt:P276 ; wdt:P580 "2023-07-15"^^xsd:date ; wdt:P582 "2023-09-17"^^xsd:date ; wdt:P664 ; write:description """The "Parallel Exhibition of 2023 Chengdu Biennale - Fluidscape (2023 成都双年展平行展 - 流体景观)" was held from July 15 to September 17, 2023 in Chengdu. It explored the concept of space as a dynamic entity that interacts with human consciousness, a theme drawn from Bachelard's "Poetics of Space". According to Bachelard, space is not just a container for objects but a vital place that we shape, and that, in turn, shapes us. We do not simply occupy space; we create it. The exhibition investigated how we engage with space and context in the contemporary world, focusing on the relationships between individuals, the city, and nature.\r \r Through temporary installations, performances, and reinterpretations of urban landscapes, the exhibition emphasized fluidity, transforming space into a continuous exchange of energy between the real and the fictional, memory and the present. This approach invited viewers on a journey that transcends the dimensions of time and space, forging new connections between here and elsewhere, remembering and forgetting.\r The 12 invited artists presented works in photography, video, and site-specific installations, alongside over 100 photography and video pieces from the Guangdong Museum of Art's collection. As a "satellite" of the Chengdu Biennale, the exhibition connected the local with the global, creating new spaces for collaboration and cultural exchange through a dynamic reading that bridges global and local experiences.""" ; write:exhibitedArtwork . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Xixia Wu Personal Art Exhibition (吴析夏个展)"@en, "吴析夏个展"@zh, "Wú Xīxià gèzhǎn"@zh-Latn ; wdt:P276 ; wdt:P580 "2021-12-06"^^xsd:date ; wdt:P582 "2021-12-20"^^xsd:date ; write:description "This exhibition was held from December 6 to 20, 2021 at the Song Yang Art Museum (Song Yang meishu guan 宋洋美术馆) of Beijing. Through graphic photography, installations, and videos, Wu Xixia's work addresses the awakening of women under scrutiny, using vibrant colors to convey the empowerment and flourishing spirit of women. In particular, the artist Wu Xixia showed her installation called \"Her Mountain\" (Ta shan 她山). "@en ; write:exhibitedArtwork . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Lei Liang 梁雷" ; wdt:P27 ; wdt:P569 "1972-11-28"^^xsd:date ; wdt:P812 ; wdt:P937 ; sch:thumbnailUrl ; write:description "Lei Liang was born in Tianjin (China) on November 28, 1972. He received his earliest musical training in Beijing, where he lived until he was seventeen years old. He then moved to the United States, where he completed his college and graduate education in Boston. He studied composition with Harrison Birtwistle (1934-2022), Chaya Czernowin (b. 1957), Joshua Fineberg (b.1969), and Mario Davidovsky (1934-2019), and received degrees from the New England Conservatory of Music and Harvard University. Actually, he is Chancellor’s Distinguished Professor of Music at the University of California San Diego (UCSD). " ; write:hasCalligraphicTraining "Not present"@en ; sch:image ; write:isComposerOf . a wd:Q184485 ; wdt:P1303 , , , , , , , , , , , , ; wdt:P1476 "Brush - Stroke (笔法)"@en, "笔法"@zh, "筆法"@zh, "Bǐfǎ"@zh-Latn ; wdt:P180 , , , , , , ; wdt:P2047 "PT10M"^^xsd:duration ; wdt:P276 ; wdt:P585 "2005-02-23"^^xsd:date ; wdt:P86 ; wdt:P941 , , , , , , , ; sch:thumbnailUrl ; write:description """“Brush-Stroke” (筆法) is a musical composition that stands out for its deep inspiration from Chinese calligraphy, creating a fascinating intertwining of visual art and sound. This work not only celebrates the beauty of calligraphic strokes but also translates them into a musical language, where each note and pause reflect the fluidity and expressiveness of the calligraphic gesture. \r “Brush-Stroke” was commissioned by and dedicated to Stephen Drury and the Callithumpian Consort. This première took place on February 23, 2005, in Calderwood Hall of the Isabella Stewart Gardner Museum of Boston. The title “Brush-Stroke” reveals the influence of Chinese calligraphy in music, in particular, the “slender gold script” by Emperor Huizong 徽宗 (1082-1135) of the Song dynasty and the wild cursive script by Monk Huaisu. In this work, Liang tried to develop an idea that he called “One-Note-Polyphony”. \r As Lei Liang explains:\r "Inspired by my sonogram analysis of the music of the guqin, my initial fascination in sound has found its expression in an idea that I call “one-note polyphony.” Each note is conceived as a kernel, or a container: a single note functions as the “intersection” where various musical dimensions can be accesseded. My interest lies in the potential for perceptible timbral transformation through the varying possibilities for instrumental re-synthesis on these single notes" (Interview 2024).\r This concept is inspired by his sonogram analysis of the music of the ancient Chinese seven-string zither – the guqin. Each single note functions as an “intersection” where various musical dimensions can be accesseded. Liang explores the timbral spectrum of a wide range of instruments through his technique of One-Note-Polyphony, shaping the composite texture through overlapping entries and unifying it through continually transforming a set of six pitches. Furthermore, by exploring the spectral sounds associated with guqin, Liang allows the listener to immerse in the transience of each sound as it comes into being and passes away, like the effects found in Chou Wen-Chung’s “Yü ko” (Yuge 渔歌 , 1965). Furthermore, the slow, ritualistic quality of the first section of “Brush-Stroke” contains features reminiscent of gagaku, Japanese court music imported during the Tang dynasty, as well as the Aak (Korean court music), ensembles that similarly comprise woodwinds, strings, and percussion. The ritualistic features are specially made evident by the shaping of the phrase based on collective “breath” rhythm, the woodwinds’ role in leading the ensemble with a head motive at a commencement of a musical phrase, and the subtle shifts in timbre within the texture of One-Note-Polyphony.\r The second section is rhythmically more animated, featuring two percussionists that engage in a fast, interlocking rhythmic pattern (forming a mirror canon) with pebbles, while the remaining instruments provide various textures in sustaining a fluid continuity of sounds. As the collective texture builds in intensity, the percussionists switch over to shouting out interlocking vocables like in kecak (Balinese monkey chant) and hand drumming on bongos and congas. \r In the final section, the piano appears in the foreground with its stochastic and pointillistic texture, coalescing into a rapid chromatic figuration in the highest register of the piano. The explosive rhythmic energy attributed to the percussion and piano are suggestive of the wild cursive style of calligraphy associated with Huaisu. Liang’s music is deeply philosophical, yet sensual, evocative, yet abstract, and disciplined, yet spontaneous. Suffice to say, his music is autobiographical: it is as if with each brushstroke, Liang reclaims his cultural identity through refracting memories of people, concepts, and objects onto a vast musical canvas. And in this way, he pays homage to tradition while embracing a global perspective and invites the listener to participate in a journey that transcends cultural boundaries. \r Through a careful exploration of the forms and dynamics of Chinese writing, “Brush-Stroke” invites listeners to immerse themselves in a sensory experience that evokes ancient artistic traditions. The composition unfolds as a dialogue between mark and sound, allowing the delicacy and precision of calligraphic strokes to be perceived through melodies and rhythms. In this way, “Brush-Stroke” is not just a tribute to calligraphy but a work that invites reflection on the connections between different art forms and their capacity to express emotions and cultures.\r """ ; write:hasPerformingArtworkType ; sch:image . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; write:attributedTitle "CWU Magnified Calligraphy 07909 (lines)" ; write:description "This CWU consists of the set of illegible lines of \"Magnified Calligraphy 07909\", in which Zhu Qingsheng selects a character from an ancient calligrapher, cutting away its four sides to isolate and magnify the central part by 100 times. This work concentrates he key elements of calligraphy—brushwork, construction, and rhythm—into a visual language that invites the viewer to contemplate the nuances of form and movement. The magnification offers an almost microscopic view, transforming familiar brushstrokes into an abstracted, intricate composition." ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; write:isUnitOf ; write:madeUsingTool . a wd:Q1400264 ; wdt:P2561 "TENG Ensamble 鼟" ; wdt:P276 ; wdt:P453 ; wdt:P571 "2004"^^xsd:gYear ; wdt:P856 ; write:description "TENG is a leading not-for-profit Singaporean arts company that re-imagines the possibilities of Chinese music. Founded in 2004, The TENG Ensemble is a critically acclaimed Singaporean Chinese fusion music group that imbues musical influences from the East, West, traditional and contemporary. Its members comprise nineteen among music educators, scholars, and award-winning instrumentalists. The Chinese word “teng 鼟”– one of the most complex characters in the Chinese language – is an ancient Chinese representation for the sound of a “drum”. This character is a symbol of TENG’s aspiration to bring cultures together and nurture future generations of musicians and audiences in Chinese music. One of the most significant performances from a calligraphic point of view realized by this musical group is the digital performance of music and calligraphy entitled “Heaven, Earth, Mankind and Unity” (Tian di ren he 天地人合) realized in 2021 together with the Chinese female calligrapher Grace Chen Liang 陈亮 (b.1974) (see the archive). " . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P186 ; wdt:P282 ; wdt:P462 , ; wdt:P9302 ; write:attributedTitle "CWU Silencer (我腋毛很多...)" ; write:description """This CWU is part of the performance "Silencer (消音)" realized by Wu Xixia on July 26, 2023 in occasion of the “Chengdu Biennale Parallel Exhibition” (Chengdu shuang nian zhan pingxing zhan 成都双年展平行展) held from July, 15 to September 17. It consists of a series of words in an inflatable sphere that the artist recites through a loudspeaker, inviting spectators on site (both kids and adults) to participate. \r Wu Xi Xia wrote about many women's secrets and the shame that keeps them "silenced". She collected some anonymous and shameful experiences of women not being accepted by society and wrote them into the sphere. Examples of these words/sentences include: "I have a lot of armpit hair" (wo yemao henduo 我腋毛很多); "I wear a pregnancy control device" (wo dai jieyu qi 我戴节育器); "I was divorced" (wo liguo hun 我离过婚); "I am flat chested" (wo pingxiong 我平胸); "I go for breast augmentation" (wo longguo xiong 我隆过胸); "I go for full-body liposuction" (wo quanshen xi zhi 我全身吸脂); "I made pornographic because of my big breasts" (wo yinwei xiong da bei yi yin, wo chanhou inda songchi 我因为胸大被意淫，我产后阴道松弛); "my vagina is loose after giving birth" (wo bei yaoqiu sheng nanhai guangzongyaozu 我被要求生男孩光宗耀祖); "I was raped by her brother" (wo bei qin gege qiangjianguo 我被亲哥哥强奸过), etc. Each time Wu Xixia writes a word or sentence, the spectator is invited to completely cover the words with red spray paint on the external surface of the sphere.\r Wu Xixia writes these sentences in regular script. In fact, as she explained:\r "I used my font to write. In fact, I didn’t care whether the writing looked good or not, because I had been recalling the 'silenced memories' I had collected. I had been writing very fast, but at the same time, people outside were also spraying paint on me, and they were covering it very quickly" (Interview 2025).""" ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 60 ; write:transcriptionAndTranslation """I have a lot of armpit hair\r I wear a pregnancy control device\r I was divorced\r I am flat chested\r I go for breast augmentation\r I go for full-body liposuction\r I made pornographic because of my big breasts\r my vagina is loose after giving birth\r I was raped by her brother"""@en, """我腋毛很多\r 我戴节育器\r 我离过婚\r 我平胸\r 我隆过胸\r 我全身吸脂\r 我因为胸大被意淫，我产后阴道松弛\r 我被要求生男孩光宗耀祖\r 我被亲哥哥强奸过"""@zh, """wǒ yèmáo hěnduō \r wǒ dài jiéyù qì \r wǒ líguò hūn \r wǒ píngxiōng \r wǒ lóngguò xiōng \r wǒ quánshēn xī zhī \r wǒ yīnwèi xiōng dà bèi yì yín, wǒ chǎnhòu yīndào sōngchí \r wǒ bèi yāoqiú shēng nánhái guāngzōngyàozǔ \r wǒ bèi qīn gēgē qiángjiānguò"""@zh-Latn . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Yi Bite: Recent Works by Feng Mengbo (一比特：冯梦波近作展)"@en, "一比特：冯梦波近作展"@zh, "Yī bǐtè: Féng Mèngbō jìnzuò zhǎn"@zh-Latn ; wdt:P276 ; wdt:P580 "2010-09-16"^^xsd:date ; wdt:P582 "2010-11-05"^^xsd:date ; wdt:P664 ; write:description "The \"Yi Bite: Recent Works by Feng Mengbo\" exhibition was held at Chambers Fine Art in New York from September 16 to November 5, 2010 and marked Feng Mengbo's first first exhibition at Chambers Fine Art New York. In this exhibition, the artist shows his investigation of classical Chinese culture that began with the series of paintings “Wrong Code: Shanshui” (Luan ma: shanshui 乱码·山水) while maintaining his engagement with the digital and cyber world, like in the \"XL\" series." ; write:exhibitedArtwork , . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Ink Dance on the West Lake - Dialogue between Calligraphy and Dance (水光潋滟...)" ; write:description "This CWU is part of the performance realized by Wang Dongling the 31st of October, 2011 at the Zhejiang Art Museum of Hangzhou. It consists of some verses from the two poems entitled “Drinking on West Lake First Shine After the Rain” (Yin hu shang chu qing hou yu 饮湖上初晴后雨) by Su Shi 苏轼 (1037-1101, better known as Su Dongpo 苏东坡), an eminent poet of the Song dynasty (960-1279). "@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 28 ; write:transcriptionAndTranslation """When it is clear, the ripples gleam on this beautiful lake,\r the colours of the mountain drizzled in mist are also wonderful.\r Should I compare Western Lake with Lady Shi?\r Lightly made up or heavily rouged, it is always fitting for her."""@en, """水光潋滟晴方好，山色空蒙雨亦奇。\r 欲把西湖比西子，淡妆浓抹总相宜。"""@zh, """Shuǐ guāng liàn yàn qíng fāng hǎo, shān sè kōng méng yǔ yì qí. \r Yù bǎ xīhú bǐ xīzǐ, dànzhuāng nóng mǒ zǒng xiāngyí."""@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; wdt:P973 ; write:attributedTitle "CWU The Character of Characters " ; write:description """This CWU consists of the Chinese character strokes described in the video "The Character of Characters" realized by Xu Bing in 2012. \r Starting with the writing process of the simplest Chinese character, “one,” which also happens to be the most fundamental stroke in Chinese calligraphy, a rich and boundless world is revealed from the microscopic texture. The character reminds us of the "The Classic of the Way and Virtue" (Dàodé Jīng 道德经), that the Dao (the void from which all reality emerges) gave birth to one, from that appeared two, then three, and from three generated the myriad things of the world. \r In the video, the character “one” then goes back to the calligraphy work The Sutra on the Lotus of the Sublime Dharma (Dàchéng Miàofǎ Liánhuá Jīng 大乘妙法莲华经) by Zhao Mengfu (1254–1322), the great painter, calligrapher, connoisseur, scholar, and official in the Yuan dynasty. \r The Lotus Sutra calligraphy dissolves and reforms into Zhao Mengfu’s painting Autumn Colors on the Qiao and Hua Mountains, pointing to the shared origin of Chinese calligraphy and painting. Another section of the video shows a landscape painting made up of the basic elements of Chinese characters. A book is shown flying over the landscape collecting these calligraphic elements. This landscape comes from another work by Xu Bing: The Mustard Seed Garden Landscape (2010), which is displayed adjacent to the video in the gallery. In this section of the animation, Xu Bing coveys the idea that Chinese painting and calligraphy are linked not only by shared similarities in brushwork, but also by symbolism. Chinese characters are composed of different elements known as “radicals” that also symbolize concepts. By memorizing characters, our brains process combinations of various calligraphic elements: some indicate sounds, and some indicate meanings. Through calligraphy practice, the brain is trained to be sensitive to these basic elements that make up Chinese characters. """ ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon true ; write:hasSignificance "Meaningful writing", "Set of lines (meaningless)", "Set of signs (illegible)" ; write:isUnitOf ; write:numberOfCharacters 6 ; write:transcriptionAndTranslation "一丨丿丶乀㇏㇆" ; write:vectorisedOrDigitised true . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Out of Character: Decoding Chinese Calligraphy - Selections from the Collection of Akiko Yamazaki and Jerry Yang"@en ; wdt:P276 ; wdt:P580 "2012-10-05"^^xsd:date ; wdt:P582 "2013-01-13"^^xsd:date ; wdt:P664 ; wdt:P856 ; write:description "\"Out of Character: Decoding Chinese Calligraphy\" was an exhibition held at the Asian Art Museum from October 5, 2012, to January 13, 2013; and from April 29 to August 17, 2014, an exhibition of the same title was held at the Metropolitan Museum of Art, New York. It showcased a comprehensive collection of Chinese calligraphy, featuring forty-five works of calligraphy spanning from the early fourteenth to the mid-nineteenth century, and aims to provide gateways into this rich and varied tradition, taking works as opportunities to explore key concepts and themes. The selected works are outstanding examples of calligraphy from the collection of Jerry Yang and his wife, Akiko Yamazaki, created by leading artists of the Yuan (1271–1368), Ming (1368–1644), and Qing (1644–1911) dynasties. The selection of artworks and their interpretation in the galleries are intended to speak to beginners and specialists alike, using calligraphy of the highest quality to introduce key concepts of format, script type, and style. Some of the most notable works are a standard script transcription of a Buddhist sutra by Zhao Mengfu (1254–1322); a clerical script transcription of The Thousand-Character Classic in an eighty-five-leaf album by Wen Peng (1498–1573); a powerful cursive writing by Xiong Tingbi (1569–1625), a Ming general charged with defending the Great Wall; a selection of works by Dong Qichang (1555–1636), the preeminent calligrapher, painter, and art theorist of the late Ming dynasty; and an important group of nineteenth-century pieces by masters of the \"Epigraphic School,\" who based their calligraphy on the archaic scripts found on bronze vessels and monumental stone steles." ; write:exhibitedArtwork . a write:CalliWritingUnit ; wdt:P144 ; wdt:P186 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; write:attributedTitle "CWU Stone Path (Square Word Calligraphy)" ; write:description "Thic CWU consists of the English word elaborated by Xu Bing according to his Square Word Calligraphy and carved on the stones of the installation entitled \"Stone Path\" realized in Dresden in 2018." ; write:hasBackgroundColour ; write:isUnitOf ; write:madeUsingTool . a wd:Q7725634 ; wdt:P1476 "Recalling the Old Days at Mianchi with Ziyou (和子由渑池怀旧)"@en, "和子由渑池怀旧"@zh, "Hé Zǐyóu Miǎnchí huáijiù"@zh-Latn ; wdt:P1480 ; wdt:P50 ; wdt:P571 "1075"^^xsd:gYear ; write:description "“Recalling the Old Days at Mianchi with Ziyou” is a well-known poem written by the Song Dynasty poet Su Shi (苏轼; 1037-1101), also known as Su Dongpo (苏东坡). The poem reflects on the past and the feelings of nostalgia associated with the poet's relationship with his brother, Ziyou 子由, and a place called Mianchi 渑池. The poet and his brother had stayed in the temple at Mianchi during a previous journey and written poems on a wall." ; write:transcriptionAndTranslation """What do you think is human life like here or there? \r It seems like a swan's traces on mud or on snow.\r See the claw and nail prints by chance mud and snow bear.\r Will the flying swan care what it has left below?\r The old monk, dead, has left but a dagoba new; \r The verse we wrote was gone with the wall in decay.\r What I remember of the journey made with you?\r The a weary long way and the lame donkey's bray."""@en, """人生到处知何似？应似飞鸿踏雪泥。\r 泥上偶然留指爪，鸿飞那复计东西！\r 老僧已死成新塔，坏壁无由见旧题。\r 往日崎岖还记否？路长人困蹇驴嘶。"""@zh, """人生到處知何似？應似飛鴻踏雪泥。\r 泥上偶然留指爪，鴻飛那復計東西！\r 老僧已死成新塔，壞壁無由見舊題。\r 往日崎嶇還記否？路長人困蹇驢嘶。"""@zh, """Rén shēng dào chù zhī hé shì? yīng shì fēi hóng tà xuě ní.\r ní shàng ǒu rán liú zhǐ zhǎo, hóng fēi nà fù jì dōng xī!\r lǎo sēng yǐ sǐ chéng xīn tǎ, huài bì wú yóu jiàn jiù tí.\r wǎng rì qí qū huán jì fǒu? lù cháng rén kùn jiǎn lǘ sī."""@zh-Latn . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Hidden Ink Calligraphy: Cloud Mountain (云山)" ; write:description "This CWU features the two Chinese characters Cloud Mountain (云山), created using Wang Yong’s ink technique. The characters are rendered in a light, fading, and hazy style. Through soft brushwork and a mist-like texture, the work conveys a sense of ambiguity and ethereal beauty." ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:transcriptionAndTranslation "Cloud mountain"@en, "云山"@zh, "雲山"@zh, "Yúnshān"@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P1412 ; wdt:P19 ; wdt:P20 ; wdt:P21 ; wdt:P2561 "Zhang Dawo 张大我" ; wdt:P27 ; wdt:P569 "1943"^^xsd:gYear ; wdt:P570 "2023"^^xsd:gYear ; wdt:P856 ; wdt:P937 , ; write:description "Zhang Dawo (born 1943) was a Chinese calligrapher and artist, born into a cultured family. He grew up in Tianjin, where he received private lessons in calligraphy from the city’s two most distinguished practitioners, Li Henian and Wu Yuru. After graduating from high school in 1963, Zhang volunteered to leave Beijing and became a teacher in northeastern China, where he faced significant challenges during the Cultural Revolution, including imprisonment by the Red Guards. After 18 months, he was released and assigned to manual labor. In 1979, Zhang and his family were allowed to return to Beijing, where he resumed his career in education, teaching calligraphy at a secondary school and later at the Capital University of Beijing. Since 1992, Zhang has split his time between Beijing and Tasmania, Australia. His experiences in Tasmania deepened his appreciation for the abstract lines in nature, influencing his work. He began experimenting with denser ink and vibrant color, using a fast-moving brush to evoke a sense of flight in his calligraphy. By the late 1990s, Zhang’s works had evolved into a form of Oriental abstract expressionism, blending traditional and contemporary influences from both Eastern and Western cultures. He describes his style as \"Dawo Black in White Miaomo,\" focusing on the tranquil power of solid black and abstract forms. Zhang's large-scale works, some up to 16 meters wide, express a dynamic yet deeply Chinese sensibility, resonating with both Eastern and Western audiences." ; write:hasCalligraphicTraining "School"@en . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P21 ; wdt:P2561 "Ma Lin 马琳" ; wdt:P812 ; wdt:P937 ; write:description """Ma Lin is a leading figure in Chinese art management, serving as Deputy Director of the Shanghai Art Museum (China Art Palace) and Shanghai University Art Museum. She is also an associate professor at Shanghai University’s School of Fine Arts, specializing in art management and museum studies.\r A key member of the China Artists Association and the Chinese Museums Association, she has pioneered public art initiatives, enhancing cultural accessibility. Her contributions in curation, research, and education continue to shape Shanghai’s art scene.""" ; write:isCuratorOf . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P1412 ; wdt:P19 ; wdt:P2561 "Zhang Yiguo 张以国" ; wdt:P569 "1960"^^xsd:gYear ; wdt:P937 , , ; write:description "Zhang Yiguo (b. 1960) is a renowned Chinese calligraphy and painting connoisseur. He graduated from Nankai University’s Department of Philosophy in 1983, where he served as the president of the university’s calligraphy society. In the late 1980s, he went to the United States for further studies and earned a Ph.D. in Art History and Archaeology from Columbia University in 2001. Zhang Yiguo has held research positions at prestigious institutions, including the Metropolitan Museum of Art in New York and the Museum of Fine Arts in Boston. He currently holds the positions of Director of the Chinese Painting and Calligraphy Department at Beijing Poly International Auction and Senior Consultant at Poly Auction Hong Kong. He is the author of several books on calligraphy: and is an accomplished calligrapher himself. " ; write:isCuratorOf . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 , ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU Why Are You Worried? (lines)" ; write:description "This CWU consists of the set of lines featured in Luo Qi's artwork Why Are You Worried? (为何忧虑, 1992). The piece showcases an immense intertwining of highly dynamic brushstrokes of varying thickness and size, conveying a strong sense of abstraction." ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasCalligraphicLine false ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; sch:image ; write:isUnitOf ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P1480 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 , , ; sch:thumbnailUrl ; write:attributedTitle "CWU Writing Music – Silent Melodies: \"La Traviata\" (signs)" ; write:description """This CWU consists of Luo Qi's original transcription of an aria of the Italian opera "La Traviata" using a series of signs that belong to the the "Dunhuang Musical Score System" (Dunhuang qupu / yuepu 敦煌曲谱/乐谱). This ancient music notation system is made up of 20 tablature-signs, which represented the tablature notations for the four-stringed Tang dynasty pipa (Chinese lute), indicating finger positions and their corresponding pitches. These symbols are simple characters (six are Chinese numerals), radicals or character components/parts. They are accompanied by two other symbols (a dot · and a mouth 口) that denote rhythm and meter. In this work, even though these signs follow the verticality of the format, they are arranged freely, unlike Dunhuang musical manuscripts and traditional calligraphy. The addition of green and brown is also an innovative element of this work. The artist reinterprets and reshapes these symbols in a unique and personal way, transforming the musical composition into a "visual and visible musical score" that is deeply rhythmic, dynamic, and intrinsically calligraphic.\r """ ; write:directionality "Free", "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of signs (illegible)" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 70 . a wd:Q7725634 ; wdt:P1476 "Yuan An stele (袁安碑)"@en, "袁安碑"@zh, "Yuán Ān Bēi"@zh-Latn ; wdt:P571 "0117"^^xsd:gYear ; write:description "Yuan An stele is a commemorative stele honouring Yuan An, uncovered at Yanshi county, Henan province in 1929. It had been erected around 117 AD and gives important dates in Yuan An's life. Some characters are missing. The stele, 137.5cm tall and 71.5cm wide, is now held at Henan Provincial Museum. It matches a similar stele found in 1923, that of his son Yuan Chang. The two may have originally been erected at the same location." ; write:transcriptionAndTranslation "The lord Minister over the Masses Yuan An Zhaogong (Shaogong) of Nüyang (Ruyang), Ru'nan, inherited learning in the Yi from the Meng clan. On gengwu in the second month of the third year of Yongping (14 April 60), he was made Gentleman of the Palace on the basis of being \"Filially Pious and Incorrupt\". On gengwu in the eleventh month of the fourth year (5 December 61), he was made Master Libationer. In the first month of the fifth year (62), he was transferred to become Chief of Yinping, Donghai. On xinsi in the second month of the tenth year (20 March 67) he was transferred to become Prefect of Dongping. On bingchen in the twelfth month of the thirteenth year (2 February 70) he was appointed Administrator of Chu commandery. On gengshen in the eighth month of the seventeenth year (18 September 74), he was appointed Intendant of Henan. Earlier, on bingshen in the sixth month of the eighth year, (12 August 65), he was appointed Grand Coachman. On bingzi in the fifth month of the third year of Yuanhe (3 June 86) he was appointed Minister of Works. On jimao in the sixth month of the fourth year (31 July 87), he was appointed Minister over the Masses. The Xiaohe Emperor promoted his court dress and summoned him to be an advisor. He passed away on guichou in the fourth year of Yongyuan (9 April 93), and was entombed on gengwu in the intercalary month (26 April)."@en, """司徒公汝南女阳袁安召公。授《易》孟氏(学)。\r 永平三年二月庚午以孝廉除郎中。四(年)\r 十一月庚午除给事谒者。五年四月乙(亥)\r 迁东海阴平长。十年二月辛巳迁东平(任)\r 城令。十三年十二月丙辰拜楚郡(太)\r 守。十七年八月庚申徵拜河南尹。(建)\r 初八年六月丙申拜太仆。元和三年五(月)\r 丙子拜司空。四年六月己卯拜司徒。\r 孝和皇帝，加元服，诏公为宾。永元四年(三)\r 月癸丑薨。闰月庚午葬"""@zh, """司徒公汝南女陽袁安召公。授《易》孟氏(學)。\r 永平三年二月庚午以孝廉除郎中。四(年)\r 十一月庚午除給事謁者。五年四月乙(亥)\r 遷東海陰平長。十年二月辛巳遷東平(任)\r 城令。十三年十二月丙辰拜楚郡(太)\r 守。十七年八月庚申徵拜河南尹。(建)\r 初八年六月丙申拜太仆。元和三年五(月)\r 丙子拜司空。四年六月己卯拜司徒。\r 孝和皇帝，加元服，詔公為賓。永元四年(三)\r 月癸醜薨。閏月庚午葬"""@zh, "Sītú gōng rǔ nán nǚ yáng yuán'ānzhào gōng shòu yì mèng shì yǒng píng sān nián èr yuè gēngwǔ yǐ xiào lián chú lángzhōng sìshíyī yuè gēngwǔ chú gěi shì yè zhě wǔ nián zhēngyuè yǐ qiān dōnghǎi yīnpíng zhǎng shí nián èr yuè xīn sì qiān dōngpíng chéng lìng shísān nián shí'èr yuè bǐng chén bài chǔ jùn shǒu shíqī nián bā yuè gēngshēn zhǐ bài hénán yǐn chū bā nián liù yuè bǐng shēn bài tài pū yuán hé sān nián wǔ bǐng zǐ bài sīkōng sì nián liù yuè jǐ mǎo bài sītú xiàohé huángdì jiā yuán fú zhào gōng wèi bīn yǒng yuán sì nián yue guǐ chǒu rùnyuè gēngwǔ zàng"@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , ; wdt:P186 , , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Inquiry of Heaven (《天问》)" ; write:description """CWU Inquiry of Heaven (Tianwen 天問) consists of the complete transcription of Qu Yuan's Questions to Heaven rendered in a seal script (zhuanshu) inspired by the script forms of the ancient state of Chu. Rather than adopting the standardized Small Seal Script (xiaozhuan) of the Qin dynasty, Huang Yeda draws on earlier large seal script traditions (dazhuan), evoking the historical and cultural context associated with Qu Yuan and the Chu ci tradition. The text comprises 1,553 traditional Chinese characters written in red cinnabar on a black background, reproducing the chromatic scheme of the installation Inquiry of Heaven.\r The writing is arranged according to the traditional Chinese format of vertical columns read from top to bottom and from right to left. Executed with brush, ink, and cinnabar on wooden panels, the work transforms the literary text into a monumental calligraphic composition. Through its script style, materiality, and visual presentation, the CWU establishes a direct connection to early Chinese traditions of writing, ritual, and cosmological inquiry.""" ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 1553 . a write:CalliWritingUnit ; wdt:P1480 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 , ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU Writing Music - Silent Melodies: \"Turandot\"(signs) " ; write:description """This CWU is composed of Luo Qi's original transcription of an aria from the Italian opera "Turandot". The artist employs a series of signs inspired by the "Dunhuang Musical Score System" (Dunhuang qupu / yuepu 敦煌曲谱/乐谱). This ancient music notation system consists of 20 tablature-signs, which represented the tablature notations for the four-stringed Tang dynasty pipa (Chinese lute), indicating finger positions and their corresponding pitches. These simbols are simple characters (six are Chinese numerals), radicals or character components/parts. As in the Dunhunag musical pieces, these symbols in this CWU are transcribed one below the other from right to left, to form columns, and are accompanied by two other symbols (a dot · and a mouth 口 ) that denote rhythm and meter. \r In this CWU, the echo of the Italian opera resonates through pipa notes that compose an unreadable rhytmic text. """ ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon true ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 160 . a write:CalliWritingUnit ; wdt:P180 , , , , , , , ; wdt:P186 , ; wdt:P282 , ; wdt:P462 , ; sch:thumbnailUrl ; write:attributedTitle "CWU Writing Music - Silent Melodies \"Se l'aura spira\" (signs)" ; write:description """This CWU is composed of Luo Qi's original transcription of an Italian aria entitled "Se l'aura spira" by Girolamo Frescobaldi (1583–1643) using a series of signs that belong to the the "Dunhuang Musical Score System" (Dunhuang qupu / yuepu 敦煌曲谱/乐谱). This ancient music notation system is made up of 20 tablature-signs, which represented the tablature notations for the four-stringed Tang dynasty pipa (Chinese lute), indicating finger positions and their corresponding pitches. These symbols are simple characters (six are Chinese numerals), radicals or character components/parts. As in the Dunhunag musical pieces, in this CWU these symbols are transcribed one below the other from right to left, to form columns, and are accompanied by two other symbols (a dot · and a mouth 口) that denote rhythm and meter. Even if the writing flow is traditional, the materials are new (acrylic on plastic). The use of black and white, although traditional, is recombined in the transcription of the signs: it is not the black ink on white paper but there are black and white signs on a transparent support. Even the fact of tracing only the outlines of the signs creates a play of empty and full spaces typical of calligraphy but rendered in a new form.\r In this CWU, the Dunhuang musical scores are reshaped in a way that the musical composition is transformed into a rhythmic and cadenced “visual and visible musical score” in dialogue with the surrounding space. \r """ ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine false ; write:hasColophon true ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 36 . a write:CalliWritingUnit ; wdt:P1480 ; wdt:P180 , , , , , , , , , , , , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , ; wdt:P9302 ; sch:thumbnailUrl , ; write:attributedTitle "CWU Sound Images - Luo Qi 2023 (signs)" ; write:description """This CWU consists of a set of pictographic signs entirely re-invented by Luo Qi. Eyes, hearts, fish, birds, stylized human and animal figures, flags, overflowing vessels, dwellings, arrows, triangle roofs, and crosses reshape ancient Chinese pictograms. These signs act as indipendent visual symbols, emphasizing their pictographic essence rather than their semantic meaning. This conceptual shift was already explored extensively in Luo Qi's earlier "Love Writing" series (Qingshu 情书, 1990-2002) and "Bird" and "Fish" series (Niao yu yu xilie “鸟”与"鱼”系列, 2005–2009). The core of Luo Qi’s work lies in the deformation and reconfiguration of selected characters and components, in order to strengthen and revitalize their aesthetic vitality and visual impact. He starts from the seal-script form of a character and then reimagines it creatively. His invented signs draw particularly on forms of jiaguwen (oracle bone script), jinwen (bronze script), dazhuan (large seal script), and xiaozhuan (small seal script), the most pictographic styles in the Chinese calligraphic tradition. For example, the second character from the bottom in the first column is easily recognizable as the word for “fish” (yu 鱼), written in oracle bone script. \r The characters are arranged in columns, read from right to left and from top to bottom, like a classical piece of calligraphy. However, the overal layout of the signs is free and fluid. In some cases, characters are enclosed by a big rectangular frame that resembles an ancient seal. The characters within this frame are a prominent feature within the overall composition organized in vertical columns. \r The filling of parts of the characters with red colour not only deepens the three-dimensional feeling of the writing but also adds to its pictorial quality. The alternation between black and red generates a rhythmic balance, echoed by the contrast between large and small characters. These contrasts are reminiscent of the arrangement in manuscripts and old printed books , where the main content of the text is written in big characters and the commentary inserted in smaller script. \r Curved lines makes the shapes appear softer and more inviting, evoking the fluid lines found in Miró’s visual language. The risult is the creation of a vivid kaleidoscope of imagined and yet-to-be-imagined narratives, immersed in a dynamic and pulsating visual rhythm. """ ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image , ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 50 . a write:CalliWritingUnit ; wdt:P144 ; wdt:P1480 ; wdt:P180 , , ; wdt:P186 , , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Zhuangzi – On the equality of things / Tangerine (《庄子—齐物论》)" ; write:description "Chu Chu wrote parts of the chapter from the \"Zhuangzi\" entitled “Discourse on the Equality of All Things” (Qiwulun 齐物论) in small characters and in a particular form of cursive script called zhangcao 章草, and placed them vertically on the paper. By looking at the work closely, you will be able to identify the characters and read the content of the text, losing sight of the depicted image, which will instead emerge as you move away. This effect is the result of different concentration of ink. The characters serve the textual function, but they also act as micro components of the image. " ; write:directionality "Traditional" ; write:hasBackgroundColour , , ; write:hasCalligraphicLine true ; write:hasCharacterForm , ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 1000 . a write:CalliWritingUnit ; wdt:P144 ; wdt:P1480 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , ; wdt:P9302 , ; sch:thumbnailUrl ; write:attributedTitle """CWU City - Ode to the West Wind (《西风颂》)\r """ ; write:description "This CWU consists of the Chinese translation of Percy Bysshe Shelley's \"Ode to the West Wind\", written in vertical columns from right to left, using both regular and running styles by Chu Chu in the artwork \"City - Ode to the West Wind\". The artist used black ink and white acrylic, integrating the calligraphy into the shaded areas of the piece." ; write:directionality "Traditional" ; write:hasBackgroundColour , ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 914 ; write:transcriptionAndTranslation """I\r O wild West Wind, thou breath of Autumn's being,\r Thou, from whose unseen presence the leaves dead\r Are driven, like ghosts from an enchanter fleeing,\r \r Yellow, and black, and pale, and hectic red,\r Pestilence-stricken multitudes: O thou,\r Who chariotest to their dark wintry bed\r \r The winged seeds, where they lie cold and low,\r Each like a corpse within its grave, until\r Thine azure sister of the Spring shall blow\r \r Her clarion o'er the dreaming earth, and fill\r (Driving sweet buds like flocks to feed in air)\r With living hues and odours plain and hill:\r \r Wild Spirit, which art moving everywhere;\r Destroyer and preserver; hear, oh hear!\r \r II\r Thou on whose stream, mid the steep sky's commotion,\r Loose clouds like earth's decaying leaves are shed,\r Shook from the tangled boughs of Heaven and Ocean,\r \r Angels of rain and lightning: there are spread\r On the blue surface of thine aëry surge,\r Like the bright hair uplifted from the head\r \r Of some fierce Maenad, even from the dim verge\r Of the horizon to the zenith's height,\r The locks of the approaching storm. Thou dirge\r \r Of the dying year, to which this closing night\r Will be the dome of a vast sepulchre,\r Vaulted with all thy congregated might\r \r Of vapours, from whose solid atmosphere\r Black rain, and fire, and hail will burst: oh hear!\r \r III\r Thou who didst waken from his summer dreams\r The blue Mediterranean, where he lay,\r Lull'd by the coil of his crystalline streams,\r \r Beside a pumice isle in Baiae's bay,\r And saw in sleep old palaces and towers\r Quivering within the wave's intenser day,\r \r All overgrown with azure moss and flowers\r So sweet, the sense faints picturing them! Thou\r For whose path the Atlantic's level powers\r \r Cleave themselves into chasms, while far below\r The sea-blooms and the oozy woods which wear\r The sapless foliage of the ocean, know\r \r Thy voice, and suddenly grow gray with fear,\r And tremble and despoil themselves: oh hear!\r \r IV\r If I were a dead leaf thou mightest bear;\r If I were a swift cloud to fly with thee;\r A wave to pant beneath thy power, and share\r \r The impulse of thy strength, only less free\r Than thou, O uncontrollable! If even\r I were as in my boyhood, and could be\r \r The comrade of thy wanderings over Heaven,\r As then, when to outstrip thy skiey speed\r Scarce seem'd a vision; I would ne'er have striven\r \r As thus with thee in prayer in my sore need.\r Oh, lift me as a wave, a leaf, a cloud!\r I fall upon the thorns of life! I bleed!\r \r A heavy weight of hours has chain'd and bow'd\r One too like thee: tameless, and swift, and proud.\r \r V\r Make me thy lyre, even as the forest is:\r What if my leaves are falling like its own!\r The tumult of thy mighty harmonies\r \r Will take from both a deep, autumnal tone,\r Sweet though in sadness. Be thou, Spirit fierce,\r My spirit! Be thou me, impetuous one!\r \r Drive my dead thoughts over the universe\r Like wither'd leaves to quicken a new birth!\r And, by the incantation of this verse,\r \r Scatter, as from an unextinguish'd hearth\r Ashes and sparks, my words among mankind!\r Be through my lips to unawaken'd earth\r \r The trumpet of a prophecy! O Wind,\r If Winter comes, can Spring be far behind?"""@en, """哦，狂野的西风，秋之生命的气息，\r 你无形，但枯死的落叶被你横扫\r 犹如精魂飞遁远离法师长吟，\r 黄的，黑的，灰的，红得像患肺痨，\r 染上瘟疫的纷纷落叶四散凋零：哦，是你哟，\r 以车驾把有翼的种子催送到\r 黑暗的冬床上，它们就躺在那里，\r 像是墓中的死穴，冰冷，深藏，低贱，\r 直到阳春，你蔚蓝的姐妹向沉睡的大地\r 吹响她嘹亮的号角\r （如同牧放群羊，驱送香甜的花蕾到空气中觅食就饮）\r 将色和香充满了山峰和平原：\r 狂野的精灵呵，你无处不远行；\r 破坏者兼保护者：听吧，你且聆听！\r \r 在你的川流之上，长空中巨流滔天，\r 乱云像大地上凋零的树叶，\r 被西风从天和海交错缠结的枝丫上吹落下来，\r 成为雨和电的使者：它们飘落\r 在你缥缈的蔚蓝波涛表面，\r 有如狂女的飘扬的头发在闪烁\r 从天穹的最遥远而模糊的边沿\r 直抵九霄的中天，到处都在摇曳，\r 欲来雷雨的卷发，对濒死的一年\r 你唱出了葬歌，而这密集的黑夜\r 将成为它广大墓陵的一座圆顶，\r 里面正有你的万钧之力的凝结\r 那是你的浑然之气，从它会迸涌\r 黑色的雨、冰雹和火焰：哦，你听！\r \r 是你，你将蓝色的地中海唤醒\r 而它曾经昏睡了一整个夏天，\r 被澄澈水流的回旋催眠入梦，\r 就在巴亚海湾的一个浮石 岛边，\r 它梦见了古老的宫殿和楼阁\r 在水天辉映的波影里抖颤，\r 而且都生满青苔、开满花朵，\r 那芬芳真迷人欲醉！呵，为了给你\r 让一条路，大西洋的汹涌的浪波\r 把自己向两边劈开，而深在渊底\r 那海洋中的花草和泥污的森林\r 虽然枝叶扶疏，却没有精力\r 听到你的声音，它们已吓得发青，\r 一边颤栗，一边自动萎缩：哦，你听！\r \r 我若是一片落叶随你飘腾；\r 我若是一朵流云伴你飞行；\r 或是一个浪头在你的威力下翻滚\r 如果我能有你的锐势和冲劲\r 即使比不上你那不羁的奔放\r 我若能像在少年时，凌风而舞\r 便成了你的伴侣，悠游天空\r （因为呵，那时候，要想追你上云霄，\r 似乎并非梦幻），又何至沦落到这等颓丧\r 祈求你来救我之急。\r 哦，举起我吧，当我是水波、树叶、浮云！\r 我跌在人生的荆棘上，我在流血！\r 这被岁月的重轭所制服的生命\r 原是和你一样：骄傲、轻捷而不驯。\r \r 把我当作你的竖琴，当作那树丛：\r 尽管我的叶落了，那有什么关系！\r 你那非凡和谐的慷慨激越之情\r 定能从森林和我同奏出深沉的秋韵，\r 甜美而带苍凉。给我你迅猛的劲头，\r 狂暴的精灵！化成我吧，借你的锋芒！\r 请把我尘封的思想散落在宇宙\r 让它像枯叶一样促成新的生命！\r 哦，请听从这一篇符咒似的诗歌，\r 就把我的心声，像是灰烬和火星\r 从还未熄灭的炉火向人间播散！\r 让预言的喇叭通过我的嘴巴\r 把昏睡的大地唤醒吧！哦，西风啊，\r 如果冬天来了，春天还会远吗？"""@zh, """ó, kuáng yě de xīfēng, qiūzhī shēngmìng de qìxí, nǐ wúxíng, dàn kūsǐ de luòyè bèi nǐ héngsǎo yóurú jīnghún fēi dùn yuǎnlí fǎshī zhǎng yín, huáng de, hēi de, huī de, hóng dé xiàng huàn fèiláo, rǎn shàng wēnyì de fēnfēn luòyè sìsàn diāolíng: Ó, shì nǐ yō, yǐ chējià bǎ yǒu yì de zhǒngzǐ cuī sòng dào hēi'àn de dōng chuángshàng, tāmen jiù tǎng zài nàlǐ, xiàng shì mù zhōng de sǐ xué, bīnglěng, shēn cáng, dījiàn, zhídào yángchūn, nǐ wèilán de jiěmèi xiàng chénshuì de dàdì chuī xiǎng tā liáoliàng de hàojiǎo (rútóng mùfàng qún yáng, qū sòng xiāngtián de huālěi dào kōngqì zhòng mì shí jiù yǐn) jiāng sè héxiāng chōngmǎnle shānfēng hé píngyuán: Kuáng yě de jīnglíng hē, nǐ wú chù bù yuǎn xíng; pòhuài zhě jiān bǎohù zhě: Tīng ba, nǐ qiě língtīng!\r \r zài nǐ de chuān liú zhī shàng, cháng kōngzhōng jùliú tāotiān, luàn yún xiàng dà dìshàng diāolíng de shùyè, bèi xīfēng cóng tiān hé hǎi jiāocuò chán jié de zhīyā shàng chuī luòxià lái, chéngwéi yǔ hé diàn de shǐzhě: Tāmen piāoluò zài nǐ piāomiǎo de wèilán bōtāo biǎomiàn, yǒurú kuángnǚ de piāoyáng de tóufǎ zài shǎnshuò cóng tiānqióng de zuì yáoyuǎn ér móhú de biānyán zhídǐ jiǔxiāo de zhōng tiān, dàochù dōu zài yáoyè, yù lái léiyǔ de juǎnfǎ, duì bīn sǐ de yī nián nǐ chàng chūle zàng gē, ér zhè mìjí de hēiyè jiāng chéngwéi tā guǎngdà mù líng de yīzuò yuán dǐng, lǐmiàn zhèng yǒu nǐ de wàn jūn zhī lì de níngjié nà shì nǐ de húnrán zhī qì, cóng tā huì bèng yǒng hēisè de yǔ, bīngbáo hé huǒyàn: Ó, nǐ tīng!\r \r shì nǐ, nǐ jiāng lán sè dì dìzhōnghǎi huànxǐng ér tā céngjīng hūnshuìle yī zhěnggè xiàtiān, bèi chéngchè shuǐliú de huíxuán cuīmián rùmèng, jiù zài bā yà hǎiwān de yīgè fúshí dǎo biān, tā mèng jiànle gǔlǎo de gōngdiàn hé lóugé zài shuǐ tiān huīyìng de bō yǐng lǐ dǒuchàn, érqiě dōu shēng mǎn qīngtái, kāi mǎn huāduǒ, nà fēnfāng zhēn mírén yù zuì! Hē, wèile gěi nǐ ràng yītiáo lù, dàxīyáng de xiōngyǒng de làng bō bǎ zìjǐ xiàng liǎngbiān pī kāi, ér shēn zài yuān dǐ nà hǎiyáng zhōng de huācǎo hé ní wū de sēnlín suīrán zhīyè fúshū, què méiyǒu jīnglì tīng dào nǐ de shēngyīn, tāmen yǐ xià dé fā qīng, yībiān zhànlì, yībiān zìdòng wěisuō: Ó, nǐ tīng!\r \r wǒ ruòshì yīpiàn luòyè suí nǐ piāo téng; wǒ ruòshì yī duǒ liú yún bàn nǐ fēixíng; huò shì yīgè làngtou zài nǐ de wēilì xià fāngǔn rúguǒ wǒ néng yǒu nǐ de ruì shì hé chòngjìn jíshǐ bǐ bù shàng nǐ nà bùjī de bēnfàng wǒ ruò néng xiàng zài shàonián shí, líng fēng ér wǔ biàn chéngle nǐ de bànlǚ, yōuyóu tiānkōng (yīnwèi hē, nà shíhòu, yào xiǎng zhuī nǐ shàng yúnxiāo, sìhū bìngfēi mènghuàn), yòu hé zhì lúnluò dào zhè děng tuísàng qíqiú nǐ lái jiù wǒ zhī jí. Ó, jǔ qǐ wǒ ba, dāng wǒ shì shuǐbō, shùyè, fúyún! Wǒ diē zài rénshēng de jīngjí shàng, wǒ zài liúxuè! Zhè bèi suìyuè de zhòng è suǒ zhìfú de shēngmìng yuán shì hé nǐ yīyàng: Jiāo'ào, qīngjié ér bù xùn. \r \r bǎ wǒ dàng zuò nǐ de shùqín, dàng zuò nà shùcóng: Jǐnguǎn wǒ de yè luòle, nà yǒu shé me guānxì! Nǐ nà fēifán héxié de kāngkǎi jīyuè zhī qíng dìng néng cóng sēnlín hé wǒ tóng zòu chū shēnchén de qiū yùn, tiánměi ér dài cāngliáng. Gěi wǒ nǐ xùnměng de jìntóu, kuángbào de jīnglíng! Huàchéng wǒ ba, jiè nǐ de fēngmáng! Qǐng bǎ wǒ chénfēng de sīxiǎng sànluò zài yǔzhòu ràng tā xiàng kū yè yīyàng cùchéng xīn de shēngmìng! Ó, qǐng tīngcóng zhè yī piān fúzhòu sì de shīgē, jiù bǎ wǒ de xīnshēng, xiàng shì huījìn hé huǒxīng cóng hái wèi xímiè de lú huǒ xiàng rénjiān bō sàn! Ràng yùyán de lǎbā tōngguò wǒ de zuǐbā bǎ hūnshuì de dàdì huànxǐng ba! Ó, xīfēng a, rúguǒ dōngtiān láile, chūntiān hái huì yuǎn ma?\r """@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P1480 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , ; wdt:P9302 , ; sch:thumbnailUrl ; write:attributedTitle "CWU White Orchid: Exotic Goddesses - Wen Tingyun (《菩萨蛮》)" ; write:description """Chu Chu wrote the poem "Exotic Goddesses" (菩萨蛮) by Wen Tingyun (812-870) from the Tang Dynasty. The characters are written in cursive and regular scripts and arranged vertically on the paper, echoing the image of falling petals. She used soft colors (white, pink, purple) ink to keep the shades of the photos (black and white), so that the characters seem like part of the photo itself. The poem depicts a quiet and intimate moment: a beautiful woman of the Tang dynasty just waking up and freshening up. It captures her state of mind, suggesting her loneliness. The content of this poems recalls the symbolic significance of the white orchid (purity and delicacy) that is usually attributed to feminine beauty.\r """ ; write:directionality "Free", "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 150 ; write:transcriptionAndTranslation """Sleek shades edging spark tones,\r 　　　Milky golden,\r Smooth hairs falling cream cheeks,\r 　　　Silky holden,\r I wake up slowly painting brows\r And fix my makeup while in drowse.\r Back and forth reflecting beauty,\r Face to face admiring duty,\r I wear a figure woven in,\r With francolins to play within."""@en, "The hills overlap with gold, and the sideburns want to be covered with snow. I'm too lazy to get up and draw my eyebrows, and I'm too late to put on my makeup and wash. The flowers are reflected in the mirror in front and behind. I've got a new embroidered jacket and a pair of golden partridges."@en, """小山重叠金明灭，鬓云欲度香腮雪。\r 懒起画蛾眉，弄妆梳洗迟。\r 照花前后镜，花面交相映。\r 新帖绣罗襦，双双金鹧鸪。"""@zh, """小山重疊金明滅，鬢雲欲度香腮雪。\r 懶起畫蛾眉，弄妝梳洗遲。\r 照花前後鏡，花面對面相映。\r 新帖繡羅襦，雙雙金鷓鴣。"""@zh, "Xiǎoshān chóngdié jīn míngmiè, bìn yún yù dù xiāng sāi xuě. Lǎn qǐ huà éméi, nòng zhuāng shūxǐ chí. Zhào huā qiánhòu jìng, huā miàn jiāo xiāngyìng. Xīn tiē xiù luó rú, shuāngshuāng jīn zhè gū."@zh-Latn . a wd:Q7725634 ; wdt:P1476 "Exotic Goddesses (菩萨蛮)"@en ; wdt:P1480 ; wdt:P50 ; wdt:P571 "0850"^^xsd:gYear ; write:description "Exotic Goddesses (菩萨蛮) is a poem by WenTingyun 温庭筠 (812-870) of the Tang dynasty. The poem depicts a beautiful woman of the Tang dynasty when she wakes up to freshen up and her state of mind, suggesting her loneliness. " ; write:transcriptionAndTranslation """Sleek shades edging spark tones,\r 　　　Milky golden,\r Smooth hairs falling cream cheeks,\r 　　　Silky holden,\r I wake up slowly painting brows\r And fix my makeup while in drowse.\r Back and forth reflecting beauty,\r Face to face admiring duty,\r I wear a figure woven in,\r With francolins to play within."""@en, "The hills overlap with gold, and the sideburns want to be covered with snow. I'm too lazy to get up and draw my eyebrows, and I'm too late to put on my makeup and wash. The flowers are reflected in the mirror in front and behind. I've got a new embroidered jacket and a pair of golden partridges."@en, "小山重叠金明灭，鬓云欲度香腮雪。懒起画蛾眉，弄妆梳洗迟。照花前后镜，花面交相映。新帖绣罗襦，双双金鹧鸪。"@zh, "Xiǎoshān chóngdié jīn míngmiè, bìn yún yù dù xiāng sāi xuě. Lǎn qǐ huà éméi, nòng zhuāng shūxǐ chí. Zhào huā qiánhòu jìng, huā miàn jiāo xiāngyìng. Xīn tiē xiù luó rú, shuāngshuāng jīn zhè gū."@zh-Latn . a write:CalliWritingUnit ; wdt:P1480 ; wdt:P180 , , , , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 , ; sch:thumbnailUrl ; write:attributedTitle "CWU Brilliant Star - Grain Buds (《她走在美中》/ signs)" ; write:description "This CWU consists of the text written by Chu Chu in the artwork \"Brilliant Star - Grain Buds\". In this piece, the artist multicolored inks to write several layers of vertically arranged Chinese characters. The original photograph, taken by Chu Chu at West Lake in Hangzhou, is partially obscured by multiple layers of calligraphy and painting. Through the use of cerulean and yellow-gold ink, the artist brings a dynamic explosion of color and energy to the composition. The result is a rich tonal palette, with overlapping layers of varying intensity, combined with a surface as ornate as a brocade of blooming flowers. The calligraphic content is \"She Walks in Beauty\" by the English poet Lord Byron." ; write:directionality "Free", "Traditional" ; write:hasBackgroundColour , , , , , , , ; write:hasCalligraphicLine true ; write:hasCharacterForm , ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 187 ; write:transcriptionAndTranslation """SHE WALKS IN BEAUTY\r \r I.\r She walks in beauty, like the night\r Of cloudless climes and starry skies;\r And all that's best of dark and bright\r Meet in her aspect and her eyes:\r Thus mellow'd to that tender light\r Which heaven to gaudy day denies.\r \r II.\r One shade the more, one ray the less,\r Had half impair'd the nameless grace\r Which waves in every raven tress,\r Or softly lightens o'er her face;\r Where thoughts serenely sweet express\r How pure, how dear their dwelling place.\r \r III.\r And on that cheek, and o'er that brow,\r So soft, so calm, yet eloquent,\r The smiles that win, the tints that glow,\r But tell of days in goodness spent,\r A mind at peace with all below,\r A heart whose love is innocent!"""@en, """她走在美的光彩中，像夜晚\r 皎洁无云而且繁星漫天；\r 明与暗的最美妙的色泽\r 在她的仪容和秋波里呈现：\r 耀目的白天只嫌光太强，\r 它比那光亮柔和而幽暗。\r 增加或减少一份明与暗\r 就会损害这难言的美。\r 美波动在她乌黑的发上，\r 或者散布淡淡的光辉\r 在那脸庞，恬静的思绪\r 指明它的来处纯洁而珍贵。\r 呵，那额际，那鲜艳的面颊，\r 如此温和，平静，而又脉脉含情，\r 那迷人的微笑，那容颜的光彩，\r 都在说明一个善良的生命：\r 她的头脑安于世间的一切，\r 她的心充溢着真纯的爱情！\r （《她走在美中》, 拜伦 / translation by Mu Dan 穆旦）"""@zh, """Tā zǒu zài měide guāngcǎi zhōng, xiàng yèwǎn\r jiǎojié wú yún érqiě fánxīng màntiān;\r míng yǔ àn de zuì měimiào de sèzé\r zài tā de yíróng hé qiūbō lǐ chéngxiàn:\r Yào mùdì báitiān zhǐ xián guāngtài qiáng,\r tā bǐ nà guāngliàng róuhé ér yōu'àn.\r Zēngjiā huò jiǎnshǎo yī fèn míng yǔ àn\r jiù huì sǔnhài zhè nán yán dì měi.\r Měi bōdòng zài tā wūhēi de fǎ shàng,\r huòzhě sànbù dàndàn de guānghuī\r zài nà liǎnpáng, tiánjìng de sīxù\r zhǐmíng tā de lái chù chúnjié ér zhēnguì.\r Hē, nà é jì, nà xiānyàn de miànjiá,\r rúcǐ wēnhé, píngjìng, ér yòu mò mò hánqíng,\r nà mírén de wéixiào, nà róngyán de guāngcǎi,\r dōu zài shuōmíng yīgè shànliáng de shēngmìng:\r Tā de tóunǎo ān yú shìjiān de yīqiè,\r tā de xīn chōngyìzhe zhēn chún de àiqíng!"""@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P1480 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 , ; sch:thumbnailUrl ; write:attributedTitle "CWU Tree Whisper – Tea (《诗经 — 桃夭》)" ; write:description "Chu Chu executed the characters of the Tao yao poem collected in the Book of Odes. She used cursive style and placed vertically the characters in the shadow of the branches. She respects the vertical line in the execution of the characters, but plays with the spaces, writing the characters closer together, almost overlapping, where the shadow gets darker, and further apart where the shadow fades away. " ; write:directionality "Free", "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 200 ; write:transcriptionAndTranslation """The peach tree is young and elegant. \r Brilliants are its flowers. \r This young lady is going to her future home, \r And will order well her chamber and house. \r The peach tree is young and elegant. \r Abundant will be its fruits. \r This young lady is going to her future home, \r And will order well her house and chamber. \r The peach tree is young and elegant. \r Luxuriant are its leaves. \r This young lady is going to her future home, \r And will order well her family. """@en, """桃之夭夭，灼灼其华。\r 之子于归，宜其室家。 \r 桃之夭夭，有蕡其实。 \r 之子于归，宜其家室。 \r 桃之夭夭，其叶蓁蓁。\r 之子于归，宜其家人。"""@zh, """Táo zhī yāo yāo, zhuózhuó qí huá. \r Zhīzǐ yú guī, yí qí shì jiā. \r Táo zhī yāo yāo, yǒu fén qíshí. \r Zhīzǐ yú guī, yí qí jiā shì. \r Táo zhī yāo yāo, qí yè zhēn zhēn. \r Zhīzǐ yú guī, yí qí jiārén"""@zh-Latn . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU Manuscript of Nature VIII_III (signs)" ; write:description "This CWU consists of thousands of thorns pinned in strict columns. They are assembled in thousands to create serial, character-like units. The resulting panel invites to a reading logic, that according to traditional Chinese calligraphy, is from top-to-bottom, right-to-left, but legibility is systematically denied. Meaning remains only within the material presence and visual structure. The thorns generate an abstract, tactile surface that feels both fragile and defensive. The echo of conventional calligraphic structure and its \"reading\" directionality are reinforced by white gaps which act as pauses, and a shorter side column which recall colophon-scale addenda in traditional calligraphy." ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine false ; write:hasColophon true ; write:hasSignificance "Set of signs (illegible)" ; sch:image ; write:isUnitOf . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU Civilization Landscape (lines)" ; write:description "This CWU consists of a set of abstract lines featured in the artwork Civilization Landscape by Qin Feng, created in 2012. These intertwining lines resemble the flowing strokes of Chinese cursive calligraphy or the elegant curves of Arabic script. As a whole, they evoke the shapes and structures of a cityscape." ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; sch:image ; write:isUnitOf ; write:madeUsingTool . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Wu wu fei shi: Chu Chu Art Solo Exhibition (物无非是——储楚艺术个展 )"@en, "物无非是——储楚艺术个展 "@zh, "Wù wú fēi shì —— Chǔ Chǔ yìshù gèzhǎn"@zh-Latn ; wdt:P276 ; wdt:P580 "2016-05-29"^^xsd:date ; wdt:P582 "2016-07-12"^^xsd:date ; write:description """"Wu Wu Fei Shi" is a solo exhibition by the female artist Chu Chu, held in 2016 at the Jianghong Art Museum in Hangzhou. The exhibition presents a selection of her works from the past decade, including pieces from the series "Material Immaterial" (Wu Fei Wu 物非物), "Equality of things - Fruit" (Qi Wu - Guoshi 齐物-果实), "Shu Shan Shui" (书山水), "Tree Whisper" (Shu Yu 树语), and "Dream of the West Lake Series" (Xihu meng xun 西湖梦寻)". \r The title of this exhibition, "Wu Wu Fei Shi", is inspired by Zhuangzi's "Discourse on the Equality of All Things" (Qiqulun 齐物论), reflecting Chu Chu's philosophical exploration into the nature and essence of objects. The exhibition introduces her artistic approach to calligraphy known as "Hidden Characters" (cang zi 藏字), which she began exploring in 2012. This technique involves embedding Chinese characters within layered compositions, inviting the viewer to uncover them through careful observation. By deconstructing and reassembling images and text through photography, calligraphy and painting, Chu Chu reconstructs the spirit of objects, creating a dialogue between Western contemporary visual art and classical Chinese traditions.""" ; write:exhibitedArtwork , , . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 , ; sch:thumbnailUrl ; write:attributedTitle "CWU Wandering Beyond Robe (逍遥游)" ; write:description "This CWU features the illegible text inscribed by Wang Dongling in the creation of the artwork Wandering Beyond Robe (逍遥衫丝质衣袍) in 2017. It consists of the text of \"Wandering Beyond\" (Xiaoyao you 逍遥游), the first of the “inner chapter\" (neipian 内篇) of Zhuangzi 庄子, realized by Wang Dongling with black acrylic ink using the luanshu (chaos script) style. " ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 1077 . a write:CalliWritingUnit ; wdt:P144 ; wdt:P1480 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 , ; wdt:P9302 , , , , ; sch:thumbnailUrl , , ; write:attributedTitle "CWU Writing Landscapes - Drafting from Extensive Research on Ancient Model Scrolls (历代名碑帖)" ; write:description """This CWU consists of the calligraphic strokes and the Chinese characters written in a range of traditional scripts, shaping a contemporary reinterpretation of a Chinese landscape painting (shanshui 山水). Calligraphic strokes and ink lines construct natural elements such as mountains, tree branches, flowers and rocks. The work therefore embodies the the classical aesthetic principle of 'the shared origin of painting and calligraphy' (shuhuatongyuan 书画同源). \r The overall composition is structurally inspired by "Precipitous Peak" (Sou jin qi feng da caogao 搜尽奇峰打草稿, literally "Searching All the Strange Mountains for Sketches"), a landscape painting by Shi Tao 石涛 (1642 – 1707). Peaks and all other natural elements emerge from layered clusters of characters and strokes.\r The textual content is drawn from 'historical collections of rubbings and model calligraphic works' (lidai ming bei tie 历代名碑帖), written through a variety of scripts and styles. These include the great seal script (dazhuan 大篆) of the Shang and Zhou dynasties, the small seal script of Li Si 李斯, the running script of Wang Xizhi 王義之, the wild cursive of Zhang Xu 张旭 and Huai Su 怀素, to the styles of Ming-Qing masters like Dong Qichang 董其昌 and Fu Shan 傅山 (artist's interview 2025).""" ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing", "Set of lines (meaningless)" ; sch:image , , ; write:isUnitOf ; write:madeUsingTool , ; write:numberOfCharacters 500 . a wd:Q7725634 ; wdt:P1476 "Daoist Lyrics for Pacing the Void - Poem No. 6 (道士步虚词·其六) "@en, "道士步虚词·其六"@zh, "Dàoshì bù xūcí·qí liù"@zh-Latn ; wdt:P1480 ; wdt:P571 "0550"^^xsd:gYear ; write:description "“Daoist Lyrics for Pacing the Void, Poem No. 6” (Daoshi buxu ci - qi liu 道士步虚词·其六) is a poem by Yu Xin 庾信 (513-581), a renowned poet of the Southern and Northern Dynasties (420-589). The poem covers several Taoist themes, evoking mystical imagery and offering philosophical reflections on nature, immortality, and transcendence." ; write:transcriptionAndTranslation """In Eastern Brilliance⁠, a Nine Mushroom Canopy⁠ [carriage];\r In Northern Illumination, a Five Cloud chariot.\r Soaring off into Inverted Luminescence;\r Emerging and disappearing, ascending to the hazy\r auroras.\r Spring founts descend Mount Yuliu⁠.\r Azure birds ascend Mount Jinhua.\r Han Wudi looked upon peach pits;\r The Marquis of Qi inquired about jujube blossoms.\r [The Lady of] Upper Prime ought to have presented wine⁠;\r And come to Cai Jing’s home.\r (Translated by Tyler Feezell, 2022)"""@en, """东明九芝盖,\r 北烛五云车。\r 飘摇入倒景，\r 出没上烟霞。\r 春泉下玉瀑,\r 青鸟上金华。\r 汉帝看桃核，\r 齐侯问枣花。\r 上元应送酒，\r 来向蔡经家。"""@zh, """東明九芝葢,\r 北燭五雲車。\r 飄颻入倒景，\r 出没上烟霞。\r 春泉下玉霤，\r 青鳥上金華。\r 漢帝看桃核，\r 齊侯問棗花。\r 上元應送酒，\r 來向蔡經家。"""@zh, """Dōng míng jiǔ zhī gài,\r Běi zhú wǔ yún chē.\r Piāo yáo rù dào jǐng,\r Chū mò shàng yān xiá.\r Chūn quán xià yù liù,\r Qīng niǎo shàng jīn huá.\r Hàn dì kàn táo hé,\r Qí hóu wèn zǎo huā.\r Shàng yuán yīng sòng jiǔ,\r Lái xiàng Cài Jīng jiā."""@zh-Latn . a write:CalliWritingUnit ; wdt:P180 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Art for the People (Art for the people)" ; write:description """This CWU consists of the English words realized by Xu Bing using his Square Word calligraphy. Letters are written using yellow brushstrokes.\r The colophon on the right side of the banner also contain words written adopting the Square Word calligraphy. These describe the saying as "Chairman Mao said, calligraphy by Xu Bing".""" ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:numberOfCharacters 3 ; write:transcriptionAndTranslation "Art for the People"@en ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 , , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , ; wdt:P9302 ; write:attributedTitle "CWU Red Humor (无人说道)" ; write:description """This CWU includes the textual content composed of slogans from advertisements, lines of classical poetry, news headlines, Buddhist scriptures, government notices, and weather forecasts, all incorporated in Wu Shanzhuan's installation artwork "Red Humor: Big-Character Posters". These heterogeneous materials collide in a chaotic, post-semantic space where traditional meaning breaks down. The texts are rendered in ink and commercial paint on xuan paper. The installation was created in the artist’s studio and is currently housed at the Zhoushan Municipal Cultural Center (Qunzhong Yishuguan 群众艺术馆), Zhoushan City.\r The characters used by the artist are often distorted, modified, or simplified beyond recognition, rendering them unreadable. Then, the placement, repetition, and layering of characters across the entire space (walls, floors, ceilings) of Zhoushan studio (Hearn 2014: 53) create immersive environments that confuse and overwhelm, reinforcing the collapse of legibility. This aligns with the artist's goal of breaking down the communicative function of language and emphasizing visual ambiguity. He also uses visual jokes and puns based on homophones, making each seemingly intelligible fragment open to reinterpretation. As noted in Hearn (2014: 53), the four large characters arranged in a grid on the floor cleverly exploit Chinese wordplay. They can be read, or better interpreted, in multiple ways. For instance, read as "wú shuō bā dào" (无说八道), the phrase means "don't speak nonsense". Its pronunciation immediately evokes the well-known four-character idiom "hú shuō bā dào" (胡说八道), translated as "talking nonsense" or "speaking absurdities." Here, hú (胡), which suggests something “reckless” or “nonsensical” substitues phonetically the original wú (无), meaning “not” or “without”. Since wu (无) is a homophone of the artist's surname Wu (吴), the phrase may also be read as "Wu speaks nonsense." Additionaly, the style of character ba (八) can easily, and likely deliberately, be confused with ren (人, person), transforming the phrase into wú rén shuō dào" (无人说道), meaning “no one can speak the way” or “no one can explain it”. \r Another of the artist's manipulation involves the rare character 辺, which can be a graphic variant of either dào (道) or biān (边), allowing for further interpretations, such as "recklessly speak in eight directions" or again "nonsense". As Hearn summarizes, Wu “undermines the logographic meaning of this text. What we are left with is the artistic equivalent of Babel" (Hearn 2014: 53). """ ; write:directionality "Traditional", "Unidentifiable" ; write:hasBackgroundColour , , ; write:hasCalligraphicLine false, true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:transcriptionAndTranslation "don't speak nonsense / no one can explain it "@en, "无说八道 / 无人说道"@zh, "wú shuō bā dào / wú rén shuō dào"@zh-Latn . a wd:Q464980 ; wdt:P10661 , , , ; wdt:P1476 "China/Avant-Garde Art Exhibition (中国现代艺术展)"@en, "中国现代艺术展"@zh, "Zhōngguó xiàndài yìshù zhǎn"@zh-Latn ; wdt:P276 ; wdt:P580 "1989-02-05"^^xsd:date ; wdt:P582 "1989-02-19"^^xsd:date ; write:description """"China/Avant-Garde Art Exhibition" was held at the National Art Museum of China in Beijing from 5, to 19 February 1989. It was the first large-scale exhibition dedicated to experimental art in China. Key participants included Gu Wenda, Xu Bing, and Wu Shanzhuan.\r Gu Wenda presented paintings and drawings produced during his two-year stay (1987-1989) in the United States, including his works with pseudo-characters.\r Xu Bing contributed with a section of his installation entitled "Book from the Sky" (Tianshu 天书). Wu Shanzhuan staged a performance titled “Big Business – Selling Shrimps in China/Avant-Garde Art Exhibition” (Da Shengyi 大生意 ), part of his Red Humor series. During the opening, he sold 30 kilograms of shrimp, which he had transported from Zhoushan to Beijing.\r Another participant was Yan Binghui, the only artist in the group who had also taken part in the First Exhibition of Chinese Modern Calligraphy. He later played a leading role in the modernization of ink painting.\r \r """ ; write:exhibitedArtwork , , . a write:CalliWritingUnit ; wdt:P1480 ; wdt:P186 , , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 , ; sch:thumbnailUrl ; write:attributedTitle "CWU Wei State of Myriad Beings (魏州万生园)" ; write:description """The content of this CWU is the text included in "Wei State of Myriad Beings" realized by Wei Ligang in 2016. Some of the characters are filled with yellow ink.\r """ ; write:directionality "Traditional" ; write:hasBackgroundColour , , ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 57 ; write:transcriptionAndTranslation "Wei State of Myriad Beings"@en, "魏州万生园 [...]"@zh, "Wèizhōu wànshēng yuán"@zh-Latn . a wd:Q464980 ; wdt:P1476 "China: Through the Looking Glass (中国 : 镜花水月)"@en, "中国 : 镜花水月"@zh, "Zhōngguó: Jìng huā shuǐ yuè"@zh-Latn ; wdt:P276 , ; wdt:P580 "2015-05-07"^^xsd:date ; wdt:P582 "2015-09-07"^^xsd:date ; write:description """The exhibition "China: Through the Looking Glass" was held at the Metropolitan Museum of Art from May 7 to September 7, 2015. It explored the historical influence of Chinese aesthetics on Western fashion. It examined how China inspired centuries of fashion imagination and fantasy. The Costume Institute collaborated with the Department of Asian Art to present a dialogue between haute couture and traditional Chinese garments, paintings, porcelain, and other art forms, including cinema.\r Since the 16th century, the West had been fascinated by the mysterious and elusive beauty of Chinese objects and imagery. Designers such as Paul Poiret and Yves Saint Laurent drew inspiration from this fascination, creating works imbued with fantasy, romance, and nostalgia. Fashion served as a lens through which these designers reinterpreted and hybridized Chinese aesthetic and cultural elements.\r The exhibition featured over 140 haute couture and avant-garde designs, displayed within immersive environments inspired by classical Chinese art. Throughout the exhibition, cinematic representations of China were also included to show how popular culture shaped Western perceptions of China and to highlight film’s unique role in understanding Chinese history.""" ; write:exhibitedArtwork . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , , , , , ; wdt:P186 ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU \"Quiproquo\" Cocktail Dress (肚痛帖)" ; write:description "This CWU is part of the outfit created by Christian Dior in 1951 called \" 'Quiproquo' Cocktail Dress\" (鸡尾酒裙). It features a calligraphic print of the poem by Zhang Xu Zhang Xu 张旭 (c. 675 CE – 750 CE), known as “Letter about a Stomachache” (Du Tong Tie 肚痛帖). Rather than appearing as a single, legible inscription, the calligraphy is multiplied across the surface of the dress, turning the script into a rhythmic decorative pattern that emphasizes visual impact over textual readability. The original text has been lost, but a stone inscription copy from the year 1058 CE (Song dynasty period) is preserved at the Beilin Museum in Xi’an. This piece is not a poem in the strict sense, but rather a short letter/calligraphy in cursive script written by Zhang Xu during a moment of physical pain, as he was suffering from a severe stomachache (or abdominal pain). In the text, Zhang Xu briefly describes his condition, his confusion about the cause of the pain (whether from cold or heat), and his decision to take a rhubarb-based medicine to relieve the discomfort. The cursive-script text is extremely concise, consisting of only six lines and around 30 characters." ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:numberOfCharacters 30 ; write:transcriptionAndTranslation """Suddenly stricken with unbearable stomach pain,\r Unsure whether it was caused by heat or cold.\r I thought of taking a decoction of rhubarb,\r Beneficial in either case—hot or cold alike.\r But what should I do?\r This isn’t a clinical setting."""@en, """忽肚痛不可堪, \r 不知是冷热所致， \r 欲服大黄汤， \r 冷热俱有益。 \r 如何为计,\r 非临床”。"""@zh, """忽肚痛不可堪，\r 不知是冷熱所致，\r 欲服大黃湯，\r 冷熱俱有益。\r 如何為計，\r 非臨床”。"""@zh, """Hū dù tòng bù kě kān,\r bù zhī shì lěng rè suǒ zhì,\r yù fú dà huáng tāng,\r lěng rè jù yǒu yì.\r Rú hé wéi jì,\r fēi lín chuáng."""@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , , ; wdt:P9302 , ; sch:thumbnailUrl ; write:attributedTitle "CWU Luck, Longevity, Prosperity, and Happiness (福禄寿禧)" ; write:description """This Calli-Writing Unit is composed of four characters (fulushouxi 福禄壽禧). These four characters form a popular auspicious phrase that means "Good fortune, long life and happiness". Each character is placed on a single panel; the four panels are next to one another, and the four characters are read from right to left as usual in traditional Chinese calligraphy. In this work, Fan Sack was probably inspired by the big signs written from right to left in Chinese calligraphy on temples or public buildings.\r The artwork is made exactly like a calligraphy: (1) its format recalls the "big character calligraphy" (dazi shufa 大字书法) of classical tradition; (2) the artist seeks to reproduce brush strokes on paper using a paint roller and a brush; (3) the calligraphic script seems to reproduce regular script (kaishu 楷书), and the links between certain strokes of the characters recall running script (xingshu 行书).\r In contrast to traditional calligraphy, which is always monochrome (black ink on white paper), in this work each character is painted a different colour and has a colourful kaleidoscopic circle in the background that gives tridimensionality and power to each character."""@en ; write:directionality "Traditional" ; write:hasBackgroundColour , , , , , , ; write:hasBigCharactersCalligraphy true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool , ; write:numberOfCharacters 4 ; write:transcriptionAndTranslation "Luck, Longevity, Prosperity, and Happiness "@en, " 福禄壽禧"@zh, "福禄寿禧"@zh, "Fúlùshòuxǐ"@zh-Latn . a wd:Q464980 ; wdt:P1476 "Vivienne Tam “Ready-to-Wear 2013” Exhibition"@en ; wdt:P276 ; wdt:P580 "2013-02-10"^^xsd:date ; write:description """Vivienne Tam “Ready-to-Wear 2013” Exhibition was held at New York Fashion Week. It was a vibrant fusion of East and West, blending bold contemporary aesthetics with cultural symbolism. The show took place on February 10th, coinciding with the Chinese New Year, adding a meaningful backdrop to the presentation. Vivienne Tam cleverly mixed elements of Western pop culture—like a pop-art print of Barack Obama wearing sunglasses accompanied by QR codes—with traditional Chinese influences, including stylized Chinese characters and Maoist references such as "long live" (wan sui 万岁) featured on elegant garments.\r The color palette was dominated by striking reds, blacks, and whites, accented with touches of blue. Silhouettes ranged from ’60s-inspired sheath dresses to modern reinterpretations of military jackets. Luxurious fabrics like silk and leather were enhanced by intricate details such as accordion pleats and leather appliqués, giving depth and texture to the looks.\r The beauty styling matched the edgy vibe, with bold dark eyeliner, deep burgundy lipstick, and sleek high ponytails, creating a strong, punk-inspired finish. Beyond the fashion itself, Vivienne Tam used the platform to support social causes, collaborating with an organization that converts electronic waste into microloans for women in need.""" ; write:exhibitedArtwork . a wd:Q7725310 ; wdt:P1476 "Chinese Emotional Graffiti - Mental illness"@en ; wdt:P580 "2021"^^xsd:gYear ; write:description "‘Chinese Emotional Graffiti’ featuring ‘mental illness expressions’ bring to light this critical social issue, highlighting the urgent need for greater support and awareness around mental health, especially in the aftermath of COVID-19. Mental illness remains a significant issue in China, where cultural stigma and limited mental health resources have historically hindered open discussions about psychological well-being. Although awareness has been gradually increasing, societal attitudes still often view mental illness as a weakness or a personal failing rather than a medical condition deserving of empathy and treatment. The prevalence of mental health issues in China has been on the rise, with anxiety and depression being some of the most common disorders, particularly among young people and those in urban areas. The impact of the COVID-19 pandemic has further exacerbated mental health challenges worldwide, and China is no exception. Extended periods of isolation, fear of infection, economic uncertainty, and the social restrictions imposed during lockdowns have significantly contributed to the increase in mental health disorders, including depression, anxiety, and post-traumatic stress symptoms. "@en ; write:includesArtwork . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Zhang Yanzi 章燕紫" ; wdt:P27 ; wdt:P569 "1967"^^xsd:gYear ; wdt:P937 ; write:description """Zhang Yanzi is a Chinese artist whose practice explores the intersections of art, medicine, and healing. Trained in traditional Chinese ink painting, she holds a Master’s degree from the Capital Normal University and currently serves as a professor at the Central Academy of Fine Arts (CAFA) in Beijing.\r Her work combines ink, mixed media, and medical materials—such as gauze, pills, and herbs—to reflect on pain, fragility, and the search for spiritual and physical restoration. Through poetic and minimalist visual language, Zhang bridges classical aesthetics and contemporary concerns, creating art as an act of empathy and introspection.""" ; write:hasCalligraphicTraining "Academic"@en ; write:isDesignerOf . a wd:Q43229 ; wdt:P2561 "Fu Qiumeng Fine Art" ; wdt:P276 ; wdt:P856 ; write:description """Fu Qiumeng Fine Art is a gallery positioned at the intersection of East and West, bridging contemporary languages and historical traditions. It is dedicated to the study and promotion of the visual and geographic globalization of contemporary Asian art, documenting the work of artists whose practices engage with classical Asian philosophy, aesthetics, and culture, across a wide range of expressive media.\r Amid an ever-evolving artistic landscape, the gallery seeks to present the creative trajectories of significant artists to an international audience through curated exhibitions, in-depth interviews, critical essays, and academic forums. Fu Qiumeng Fine Art serves as a space for reflection and education, where visual pleasure is accompanied by intellectual rigor, offering insight into the dynamics of globalization and into transnational and diasporic experiences.""" ; write:hasOrganisationType ; write:isDesignerOf . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P186 , , ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU Water of Lake Tai (lines)" ; write:description "This CWU consists of green marks obtained during the process used in Wang Nanming's artwork \"Water of Lake Tai \". These marks document the pollution of Lake Tai and global ecological issues." ; write:hasBackgroundColour ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; sch:image ; write:isUnitOf . a wd:Q7725634 ; wdt:P1476 "The Foolish Old Man Removes the Mountain (愚公移山)"@en, "愚公移山"@zh, "Yu Kong Yi Shan"@zh-Latn ; wdt:P50 ; wdt:P571 "-0400"^^xsd:gYear ; write:description """Yu Kong Yi Shan 愚公移山 ("The Foolish Old Man Removes the Mountains") is a well-known fable from Chinese mythology about the virtues of perseverance and willpower. The tale first appeared in Book 5 of the Liezi, a Daoist text of the 4th century BC written by the philosopher Lie Yukou. The story was also used by Mao Zedong in a famous speech in 1945. \r This traditional Chinese story is known by all common people and it speaks about a family story. It is about determination and challenge: if you really want to do something, then it could really happen."""@en ; write:hasWikidataResource ; write:transcriptionAndTranslation "The Foolish Old Man of nearly ninety years of age, lived behind two high mountains. He was unhappy about the fact that the mountains blocked his way to the south, so he called the whole family to level the two mountains. While they were working, The Wise Old Man at the River Bend stopped the old man. He laughed and said: \"How unwise you are! At your age, old and feeble as you are, you cannot even remove one hair on the mountain, let alone so much earth and so many rocks!\" The Foolish Old Man had a long sign and said: “When I die, there will be my sons, who will have their sons and grandsons. Those grandsons will have their sons and grandsons, and so on to infinity. But the mountains will not grow. Why is it impossible to level them?\". The Wise Old Man could not answer him. Finally, a god of the mountains was touched by their actions and he helped them finished the road quickly. "@en, """古时候，愚公的房子前面有两座大山，一座叫太行山，一座叫王屋山。每次愚公出门到南边去，都得绕过这两座山，很不方便。于是，他把家里所有的人都叫来，对他们说： “我下决心要挖掉我们家门口的两座大山，你们说好不好？”大家都同意，只有愚公的妻子觉得不行， 她问：“你这样的力气挖一座小山都很困难，别说太行王屋这样的大山了。 而且，挖出来的泥土，石头放在哪里?"。"把它们搬到北海去”，她的儿子回答。\r 第二天，愚公的一家开始挖山，他们用篮子，水桶把泥土和石头搬到北海。 去一次北海要花很长时间，冬天出发，第二年夏天才回来。愚公的邻居老太太有一个孙子，也过来帮忙。\r 愚公的另一个邻居知道了这事，觉得愚公太傻了，可是愚公说：“虽然我已经九十九岁了，但是我死了以后有儿子，儿子死了有孙子，子子孙孙不停地挖，但山不会再高了，怎么挖不平？” 他带领全家继续挖山。\r 天上的大神听到了愚公说的话，很感动，就派两个巨人背走了两座大山。"""@zh, "Gu shihou, yu gong de fangzi qianmian you liang zuo dashan, yizuo jiao taixingshan, yizuo jiao wang wushan. Mei ci yu gong chumen dao nanbian qu, dou de raoguo zhe liang zuo shan, hen bu fangbian. Yushi, ta ba jiali suoyou de ren dou jiao lai, dui tamen shuo: “Wo xia juexin yao wa diao women jia menkou de liang zuo dashan, nimen shuo hao bu hao?” Dajia dou tongyi, zhiyou yu gong de qizi juede buxing, ta wen: “Ni zheyang de liqi wa yizuo xiaoshan du hen kunnan, bie shuo taixing wang wu zheyang de dashanle. Erqie, wa chulai de nitu, shitou fang zai nali?”. “Ba tamen ban dao beihai qu\", ta de er zi huida. Di er tian, yu gong de yijia kaishi wa shan, tamen yong lanzi, shuitong ba nitu he shitou ban dao beihai. Qu yici beihai yao hua hen chang shijian, dongtian chufa, di er nian xiatian cai huilai. Yu gong de linju lao taitai you yige sunzi, ye guolai bangmang. Yu gong de ling yige linju zhidaole zhe shi, juede yu gongtai shale, keshi yu gong shuo: “Suiran wo yijing jiushijiu suile, danshi wo sile yihou you erzi, erzi sile you sunzi, zi zisun sun bu ting de wa, dan shan bu hui zai gaole, zenme wa buping?”. Ta dailing quanjia jixu wa shan. Tianshang de dashen ting daole yu gong shuo dehua, hen gandong, jiu pai liang ge juren beizoule liang zuo dashan."@zh-Latn . a wd:Q7725310 ; wdt:P1071 , ; wdt:P1476 "Chinese Emotional Graffiti - Desire to escape / dissatisfaction with present reality "@en ; wdt:P580 "2022"^^xsd:gYear ; write:description "This category is represented by pieces that convey a profound sense of disconnection and dissatisfaction with the surrounding world. During the COVID-19 pandemic, individuals around the world faced restrictions on their freedoms and a suspension of daily activities, placing a significant burden on their lives. This context makes the messages of these graffiti pieces clear: they express feelings of inadequacy, alienation, dissatisfaction, and a desire to seek happiness elsewhere. This imagined escape reflects a deeper psychological response to the collective trauma experienced during the pandemic, highlighting the role of creativity and fantasy in coping with adversity."@en ; write:includesArtwork . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 , ; write:attributedTitle "CWU Reality is meant to be escaped (现实就是用来逃避的)" ; write:description "The \"CWU Reality is meant to be escaped (现实就是用来逃避的)\" was executed in black spray paint on a repainted wall that had previously been used to host another work (likely a puppet- or cartoon-style figure), typical of graffiti culture. The artist deliberately employed traditional Chinese characters, reflecting the linguistic and cultural environment of Taipei. This choice firmly situates the work within its local context while also engaging in a broader dialogue with Chinese-language graffiti practices across different regions. By writing directly over a freshly buffed surface, the gesture becomes both an act of defiance and a moment of reflection. Faint traces of the earlier graffiti remain visible beneath the new layer of paint, creating a visual and conceptual dialogue between erasure and re-inscription. Through this interplay, the piece interrogates the cyclical nature of visibility and disappearance in public art. The graffiti style of this work combines spray paint techniques with traditional Chinese writing practices, incorporating Conventional/Traditional characters (changgui fantizi), Regular script (kaishu), and hard-tipped calligraphy (yingbi shufa)."@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 8 ; write:transcriptionAndTranslation "Reality is meant to be escaped"@en, "现实就是用来逃避的"@zh, "現實就是用來逃避的"@zh, "Xiànshí jiù shì yòng lái táobì de"@zh-Latn . a wd:Q7725310 ; wdt:P1476 "Chinese Emotional Graffiti - (Aspiration for) Freedom "@en ; wdt:P580 "2022"^^xsd:gYear ; write:description """Within the framework of Chinese Emotional Graffiti, the characters "ziyou 自由 (freedom)" frequently appear on urban walls. The recurring presence of this word reflects graffiti writers’ invocation of freedom in its most universal and existential sense. Yet, some inscriptions also echo well-known quotations or allude to pivotal moments in Chinese history, suggesting that the concept of freedom functions simultaneously as a personal aspiration and as a form of collective memory shaped by sociopolitical experience.\r A series of graffiti works featuring "ziyou 自由 (freedom)" explores the multifaceted meanings of the term through variations in form, style, and spatial context. Rendered in diverse calligraphic and graffiti-inflected scripts, the word becomes both a visual experiment and a philosophical statement. Each iteration negotiates the tension between inner liberation and external constraint, between the intimate and the public.\r The repetition of "ziyou 自由 (freedom)" across multiple urban Chinese surfaces creates a dispersed yet interconnected narrative of yearning and defiance. In some instances, the characters are written hastily on abandoned walls or underpasses, their rawness emphasizing immediacy and emotional urgency. In others, they are integrated into more elaborate compositions, where decorative motifs or textual fragments evoke literary or historical references, deepening the semantic resonance of the word.\r As a recurring motif within Chinese Emotional Graffiti, "ziyou 自由 (freedom)" thus transcends linguistic meaning to become an aesthetic and affective gesture: a reaffirmation of agency and individuality within a rapidly transforming urban and political landscape."""@en ; write:includesArtwork . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Freedom (自由)" ; write:description "The \"CWU Freedom (自由)\" consists of two characters spray-painted in red on a weathered gray surface, visually enclosed within a metal cage. The composition intensifies the socio-political resonance of the work: the act of inscribing “freedom” directly onto an urban infrastructure, only to have it visually confined by fencing, can be read as an implicit commentary on the restrictions placed upon individual liberties in the public sphere. Notably, the inscription is arranged vertically, written from top to bottom, recalling the traditional orientation of Chinese calligraphy while asserting its presence within a contemporary graffiti context. The style leans toward a throw-up/softie graffiti aesthetic, and the dripping of the spray paint symbolizes the “overflow” of freedom despite its confinement."@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , , ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:transcriptionAndTranslation "Freedom"@en, "自由"@zh, "Zìyóu"@zh-Latn . a wd:Q7725310 ; wdt:P1071 , ; wdt:P1476 "Chinese Emotional Graffiti - Loneliness"@en ; wdt:P580 "2024"^^xsd:gYear ; write:description """Some examples of Chinese Emotional Graffiti that convey the sentiment of loneliness were created outside China. In these instances, the expression of solitude is multifaceted: it reflects not only the emotional isolation experienced during and after pandemic lockdowns, but also the profound sense of estrangement felt by Chinese immigrants living in foreign environments. These works articulate a transnational form of loneliness, one that intertwines personal displacement, cultural detachment, and the search for identity through visual language. \r The graffiti often employs restrained color palettes, fragmented calligraphic strokes, or disjointed textual compositions that mirror psychological distance and disconnection. \r The choice of location, such as abandoned walls, underpasses, or urban peripheries, further reinforces a feeling of marginality and invisibility. \r By translating emotion into written form, these artists transform public surfaces into intimate confessional spaces, revealing the tension between presence and absence, belonging and isolation, within the broader context of diasporic Chinese identity."""@en ; write:includesArtwork . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 , ; write:attributedTitle "CWU I feel lonely (我感到孤单)" ; write:description "The \"CWU I feel lonely (我感到孤单)\" was created with a marker on a rough wall, in the style of Hard-tipped calligraphy (yingbi shufa). This graffiti presents a striking repetition of the pronoun \"wo 我 (I)\" sixteen times, followed by the phrase \"wo gan dao gu dan 感到孤单 (I feel lonely).\" The visual and linguistic accumulation of wo 我 intensifies the self-referential tone, evoking a sense of obsessive introspection and emotional isolation. The piece exemplifies how written language, particularly Chinese characters, can function as a direct medium of affect in contemporary urban expression."@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 20 ; write:transcriptionAndTranslation "I I I I I I I I I I I I I I I I feel lonely"@en, "我 我 我 我 我 我 我 我 我 我 我 我 我 我 我 我感到孤单"@zh, "wǒ wǒ wǒ wǒ wǒ wǒ wǒ wǒ wǒ wǒ wǒ wǒ wǒ wǒ wǒ wǒ gǎndào gūdān"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 , , ; write:attributedTitle "CWU I am very sad today (今天很伤心)" ; write:description "The \"CWU I am very sad today (今天很伤心)\" consists of the phrase \"Jintian hen shangxin 今天很伤心 (I am very sad today),\" rendered in white characters against a deep burgundy-red background, accompanied by the image of a crying face. The visual contrast between the stark white script and the saturated red surface intensifies the emotional tension of the message, transforming a simple declarative sentence into an affective statement that resonates with viewers on an immediate, human level. The inclusion of the crying face reinforces this direct emotional communication, bridging textual and visual expression in a way characteristic of Chinese Emotional Graffiti."@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 5 ; write:transcriptionAndTranslation "I am very sad today"@en, "今天很伤心"@zh, "Jīntiān hěn shāngxīn"@zh-Latn . a wd:Q7725310 ; wdt:P1071 , ; wdt:P1476 "Chinese Emotional Graffiti - Sadness"@en ; wdt:P580 "2024"^^xsd:gYear ; write:description """Sadness is a recurring motif in Chinese Emotional Graffiti, often functioning as both a subtle warning and a reflective reminder. On one hand, it encourages individuals to recognize the emotional depth and human value embedded in the experience of sadness; on the other, perhaps with a trace of irony, it implies that sadness is an ordinary, even inevitable, component of daily existence.\r In a series of graffiti works centered on this theme, sadness is not depicted through overt melancholic imagery, but rather through restrained visual language and textual ambiguity. The compositions often feature fragmented characters, faded pigments, and irregular drips, formal choices that evoke a sense of erosion or emotional exhaustion. The use of Chinese characters intensifies this affective charge, as strokes appear to tremble or dissolve, suggesting both vulnerability and endurance.\r Thematically, these works transform public walls into emotional landscapes, where private feelings become part of a collective urban dialogue. Rather than dramatizing despair, the artists seem to reclaim sadness as a shared human condition, resisting the expectation of perpetual optimism. The result is a quiet, introspective form of expression that challenges conventional graffiti’s association with aggression or rebellion, positioning emotional honesty itself as a form of resistance."""@en ; write:includesArtwork . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Chinese Emotional Graffiti - Discomfort of youth"@en ; wdt:P580 "2022"^^xsd:gYear ; write:description """The series "Chinese Emotional Graffiti – Discomfort of Youth" examines the psychological and cultural repercussions of the COVID-19 pandemic through the language of contemporary Chinese graffiti. The pandemic brought abrupt losses (of work, relationships, and a sense of normalcy) leaving many, especially youth, with the feeling that precious, irretrievable time had been stolen. Young people faced unique challenges: isolation, disrupted education, and pervasive uncertainty about the future. These formative years, marked by restriction and fear, often led to disconnection and a diminished sense of agency.\r The series translates these experiences into visual form, using the expressive potential of language as both subject and medium. Each piece transforms the urban wall into a site of emotional inscription, where hybridized Chinese characters embody the contradictions of a generation caught between cultural continuity and existential fragmentation. \r In this sense, the “discomfort” of youth emerges not only as an individual sentiment but as a collective condition: a manifestation of disrupted temporality and constrained autonomy. These works function as public confessions, reclaiming visibility for emotions suppressed during isolation. By turning private disquiet into shared visual experience, "Chinese Emotional Graffiti – Discomfort of Youth" transforms public space into a mirror of generational resilience, mourning, and emotional truth."""@en ; write:includesArtwork . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Where Is Youth Going? (青年去往何处? )" ; write:description "The “CWU Where Is Youth Going? (青年去往何处?)” was sprayed in red paint onto the crumbling wall of a ruined house at a street corner. The inscription is split across two sections: “Qingnian 青年” (youth) appears on the left wall, while “qu wang he chu 去往何处” (where is it going?) occupies the right, visually emphasizing a sense of rupture and disjunction. The characters themselves convey a dynamic instability: their strokes shift between assertive, calligraphic precision and erratic, dissolving forms, embodying the inner turbulence of contemporary youth. The surface shows visible layers of paint and traces of erasure, evoking the passage of time and the emotional residue left by isolation and uncertainty. Dripping marks and uneven textures suggest a gradual loss of solidity, as though the very notion of “youth” were disintegrating before the viewer’s eyes."@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 7 ; write:transcriptionAndTranslation "Where Is Youth Going?"@en, " 青年去往何处?"@zh, "Qīngnián qù wǎng hé chù?"@zh-Latn . a wd:Q7725310 ; wdt:P1071 , ; wdt:P1476 "Chinese Emotional Graffiti - Desperate Love"@en ; wdt:P580 "2023"^^xsd:gYear ; write:description """The themes of love, affection, and romance are prominently featured within the phenomenon of Chinese Emotional Graffiti. These motifs, long celebrated by poets, musicians, and scenographers throughout history, also find a natural place among contemporary street artists and writers. Yet, within this form of expression, such emotions are often portrayed through a negative or ironic lens. Chinese Emotional Graffiti, typically found on urban walls, bridges, and other public spaces, embodies a raw and unfiltered outpouring of personal sentiment. The artists who create these works frequently dwell on the pain, heartbreak, and longing associated with love, revealing the melancholic underside of romantic experience.\r This approach stands in contrast to the traditional depiction of love as joyous and fulfilling, instead emphasizing the emotional complexity and ambivalence that this universal theme can evoke in street art. Graffiti phrases such as “Romantic Virus,” “COVID lasted longer than your love,” or “Love Throat” exemplify this tendency to merge irony, despair, and emotional vulnerability. Through these expressions, the artists transform private suffering into public testimony, using walls as a space for catharsis and shared reflection.\r Several examples further illustrate the emotional toll of the COVID-19 lockdowns. The pandemic not only imposed physical separation but also deepened emotional alienation, contributing to the dissolution of many relationships. As lockdown measures curtailed gestures of intimacy, like hugs, handshakes, kisses, individuals were deprived of the very forms of connection most needed in times of crisis. This state-imposed isolation intensified feelings of loneliness and underscored the fundamental human need for both emotional and physical closeness. In this context, Chinese Emotional Graffiti stands as a poignant visual record of contemporary affect, bridging the gap between personal sentiment and collective experience."""@en ; write:includesArtwork . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Covid lasts longer than any of your love (肺炎在的时间比你任何一场爱还久)" ; write:description "The \"CWU Covid lasts longer than any of your love (肺炎在的时间比你任何一场爱还久)\" was executed at MRT Houyi Station in Kaohsiung, Taiwan. The inscription, rendered in traditional Chinese characters, is painted in black on a corrugated galvanized steel panel."@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 15 ; write:transcriptionAndTranslation "Covid lasts longer than any of your love"@en, "肺炎在的时间比你任何一场爱还久"@zh, "肺炎在的時間比你任何一場愛還久"@zh, "Fèiyán zài de shíjiān bǐ nǐ rènhé yī chǎng ài hái jiǔ"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 , ; write:attributedTitle "CWU What is love? (爱是什么?)" ; write:description "The “CWU What is love? (爱是什么?)” reproduces, using spray paint, the four characters in vivid orange on the gray metal of an Italian train carriage. The choice of orange appears deliberate: it echoes the train’s lower stripe while allowing the message to stand out sharply against the silver background. The writing is executed in a simple, angular style typical of Chinese Emotional Graffiti, where clarity of message takes precedence over aesthetic flourish."@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:transcriptionAndTranslation "What is love?"@en, "爱是什么?"@zh, " Ài shì shénme?"@zh-Latn . a wd:Q7725310 ; wdt:P1071 , ; wdt:P1476 "Chinese Emotional Graffiti - Existential and universal questions "@en ; wdt:P580 "2023"^^xsd:gYear ; write:description """This series explores the millions of existential and universal questions we encounter in daily life, translated into the visual language of Chinese graffiti. A defining feature of “Chinese Emotional Graffiti,” particularly as showcased on platforms like ChineseGraffitiHub, is the dynamic interaction that emerges in the comments section of each post. Every question, reflection, or emotional outburst depicted in these works sparks engagement from followers, who contribute their own perspectives, experiences, and emotions.\r This participatory aspect transforms the graffiti from static visual art into a catalyst for communal dialogue and collective reflection. The comments section becomes a virtual space of connection, where people share support, contrasting viewpoints, and empathy, enriching the conversation around universal human concerns. This interaction highlights a distinctive dimension of contemporary Chinese street art: digital platforms amplify the impact of graffiti far beyond its physical presence, creating a living, evolving discourse.\r By blending traditional graffiti techniques with online engagement, “Chinese Emotional Graffiti” enables a deeper exploration of human emotions, societal issues, and existential questions. Through this synergy of visual art and social media, the series transcends cultural and linguistic boundaries, inviting a global audience to reflect on the fundamental questions that unite us all."""@en ; write:includesArtwork . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Chinese Emotional Graffiti - Fatigue"@en ; wdt:P580 "2021"^^xsd:gYear ; write:description """The notion of fatigue, primarily psychological yet deeply intertwined with the pressures of contemporary existence, emerges as a central and recurring motif within the framework of Chinese Emotional Graffiti. These works articulate a condition of profound moral and emotional exhaustion, reflecting the pervasive sense of weariness that characterizes life in the post-pandemic era.\r The graffiti convey not merely physical tiredness but a collective psychological depletion, a state intensified by social isolation, uncertainty, and the erosion of individual autonomy. The experience of the Covid-19 pandemic has transformed human beings into passive witnesses of their own vulnerability, subject to invisible forces that govern both public and private life. In this context, the written expressions found in "Chinese Emotional Graffiti – Fatigue" function as both a lament and a cry for relief.\r Through fragmented phrases, repetitive strokes, and expressive calligraphic gestures, these works expose the inner fragility of the human condition. The language inscribed on the walls, often terse and emotionally charged, acts as a medium for unspoken despair and collective mourning. Each mark embodies resistance against silence, transforming public space into a site of introspection and emotional release.\r Ultimately, "Chinese Emotional Graffiti – Fatigue" should be understood as an act of vulnerability and self-exposure. It is both personal and universal—a visual articulation of exhaustion that transcends linguistic and cultural boundaries, seeking empathy and recognition in the shared experience of enduring and surviving fatigue."""@en ; write:includesArtwork . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , ; wdt:P9302 , ; write:attributedTitle "CWU I can’t take it anymore (受的好累)" ; write:description "The \"CWU I can’t take it anymore (受的好累)\" consists of four Chinese characters: \"shou de hao 受的好\", rendered in red spray paint, followed by \"lei 累 (fatigue)\", executed in black. The chromatic contrast between red and black is visually and symbolically significant: the red conveys intensity, emotional agitation, and perhaps internalized pain, while the black character \"lei 累 (fatigue)\" isolates and emphasizes the core sentiment of exhaustion."@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:transcriptionAndTranslation "I can’t take it anymore"@en, "受的好累"@zh, "Shòu de hǎo lèi"@zh-Latn . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "CAFA Exhibition: Silk Road Yunshang (丝路云裳)"@en ; wdt:P276 ; wdt:P580 "2017"^^xsd:gYear ; wdt:P582 "2017"^^xsd:gYear ; write:description """The Silk Road Yunshang exhibition was held at the Taimiao Art Museum in Beijing in May 2017, coinciding with the Belt and Road International Cooperation Forum. Curated by Fan Di’an, with Lü Yue and Zhang Yanzi, the exhibition explored the intersection of art, fashion, and silk culture along the Silk Road, connecting tradition with contemporary practice.\r The exhibition comprised two main sections: 1) “Gathering of Garments”: showcasing artists and designers working with clothing to highlight the cultural, social, and aesthetic dimensions of dress; and 2) “East-West Collaboration”: presenting contemporary artists using silk robes as a “canvas” for artistic creation, including those with limited experience in fashion.\r The exhibition traced the historical development and transmission of silk and garments, while emphasizing contemporary reinterpretations in art. Fashion art, emerging in the 1960s–1970s in the United States, transcends mere wearability to engage with cultural meaning, artistic ideas, and the creator’s emotions.""" ; write:exhibitedArtwork . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , ; wdt:P282 ; wdt:P407 ; wdt:P462 , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Les Poèmes du Mandarin for Hermès - Invitation to Wine" ; write:description """This CWU is part of the white ceramic plate from the “Les Poèmes du Mandarin” collection by Hermès. It features the full text of Li Bai’s poem "Invitation to Wine" (Jiang jin jiu 将进酒) written by Fung Mingchip in non-simplified characters. The calligraphy is rendered in subtle shades of black and grey with delicate platinum accents to evoke the effect of freshly applied, wet ink, and punctuated with small red seals carved by the artist. The calligraphy was first created freehand on traditional rice paper and later digitally adapted by the design studio to fit the ceramic surface. The writing reflects a personal style inspired by xingkai (semi-cursive script), reinterpreted on a reduced and carefully controlled scale. The strokes are exceptionally delicate, at times resembling fine hatchings, giving the script a highly unconventional and experimental quality compared to traditional calligraphic norms. The composition transforms each character into a visual rhythm, highlighting both the expressive potential of the brush and the artist’s innovative approach to classical Chinese calligraphy.\r The plate is presented inside Hermès’ iconic square orange box, emphasizing the combination of classical Chinese poetry with the brand’s contemporary luxury aesthetic. The subtle, almost ethereal quality of the calligraphy, together with the pristine white ceramic, transforms the functional object into a work of art, highlighting both the beauty of the literary text and the innovative approach to calligraphy.""" ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:numberOfCharacters 190 ; write:transcriptionAndTranslation """Have you not seen –\r that the waters of the Yellow River come from Heaven,\r surging into the ocean, never to return again;\r Have you not seen –\r in great halls’ bright mirrors, they grieve over white hair,\r at dawn like black threads, by evening becoming snow.\r In human life, accomplishment must bring total joy,\r do not allow an empty goblet to face the moon.\r Heaven made me – my abilities must have a purpose;\r I spend a thousand gold pieces completely, but they'll come back again.\r Boil a lamb, butcher an ox – now we shall be joyous;\r we must drink three hundred cups all at once!\r Master Cen,\r Dan Qiusheng,\r bring in the wine!\r The cups must not stop!\r I’ll sing you a song –\r I ask that you lend me your ears.\r Bells, drums, delicacies, jade – they are not fine enough;\r I only wish to be forever drunk and never sober again.\r Since ancient times, sages have all been solitary;\r only a drinker can leave his name behind!\r The Prince of Chen, in times past, held feasts at Pingle;\r ten thousand cups of wine – abandon restraint and be merry!\r Why would a host speak of having little money? –\r you must go straight and buy it – I’ll drink it with you!\r My lovely horse,\r my furs worth a thousand gold pieces,\r call the boy and have him take them to be swapped for fine wine,\r and together with you I’ll wipe out the cares of ten thousand ages."""@en, """君不見，\r 黃河之水天上來，\r 奔流到海不復回；\r 君不見，\r 高堂明鏡悲白髮，\r 朝如青絲暮成雪。\r 人生得意須盡歡，\r 莫使金樽空對月。\r 天生我材必有用，\r 千金散盡還復來。\r 烹羊宰牛且為樂，\r 會須一飲三百杯。\r 岑夫子，\r 丹丘生，\r 將進酒，\r 杯莫停。\r 與君歌一曲，\r 請君為我傾耳聽。\r 鐘鼓饌玉不足貴，\r 但願長醉不復醒。\r 古來聖賢皆寂寞，\r 惟有飲者留其名。\r 陳王昔時宴平樂，\r 斗酒十千恣欢谑。\r 主人何為言少錢，\r 徑須沽取對君酌。\r 五花馬，\r 千金裘，\r 呼兒將出換美酒，\r 與爾同銷萬古愁。"""@zh, """君不见，\r 黄河之水天上来，\r 奔流到海不复回；\r 君不见，\r 高堂明镜悲白发，\r 朝如青丝暮成雪。\r 人生得意须尽欢，\r 莫使金樽空对月。\r 天生我材必有用，\r 千金散尽还复来。\r 烹羊宰牛且为乐，\r 会须一饮三百杯。\r 岑夫子，\r 丹丘生，\r 将进酒，\r 杯莫停。\r 与君歌一曲，\r 请君为我倾耳听。\r 钟鼓馔玉不足贵，\r 但愿长醉不复醒。\r 古来圣贤皆寂寞，\r 唯有饮者留其名。\r 陈王昔时宴平乐，\r 斗酒十千恣欢谑。\r 主人何为言少钱，\r 径须沽取对君酌。\r 五花马，\r 千金裘，\r 呼儿将出换美酒，\r 与尔同销万古愁。"""@zh, """Jūn bù jiàn,\r huánghé zhī shuǐ tiān shànglái,\r bēnliú dào hǎi bù fù huí;\r Jūn bù jiàn,\r gāotáng míngjìng bēi bái fà,\r zhāo rú qīngsī mù chéng xuě.\r Rénshēng déyì xū jìn huān,\r mò shǐ jīn zūn kōng duì yuè.\r Tiān shēng wǒ cái bì yǒu yòng,\r qiānjīn sàn jǐn hái fù lái.\r Pēng yáng zǎi niú qiě wéi lè,\r huì xū yī yǐn sānbǎi bēi.\r Cén fūzǐ,\r dān qiū shēng,\r jiāng jìn jiǔ,\r bēi mò tíng.\r Yǔ jūn gē yī qū,\r qǐng jūn wèi wǒ qīng ěr tīng.\r Zhōng gǔ zhuàn yù bùzú guì,\r dàn yuàn cháng zuì bù fù xǐng.\r Gǔlái shèngxián jiē jìmò,\r wéiyǒu yǐn zhě liú qí míng.\r Chén wáng xī shí yàn Pínglè,\r dǒujiǔ shíqiān zì huān xuè.\r Zhǔrén hé wèi yán shǎo qián,\r jìng xū gū qǔ duì jūn zhuó.\r Wǔ huā mǎ,\r qiānjīn qiú,\r Hū ér jiāng chū huàn měijiǔ,\r yǔ ěr tóng xiāo wàngǔ chóu."""@zh-Latn ; write:vectorisedOrDigitised true . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Chinese Emotional Graffiti - Social and political commentaries"@en ; wdt:P580 "2022"^^xsd:gYear ; write:description """Social and political commentary occupies one of the most sensitive and contested domains within ‘Chinese Emotional Graffiti.’ Unlike works that prioritize aesthetic experimentation or cultural symbolism, politically charged graffiti foregrounds text as its primary medium, articulating political dissent and public dissatisfaction with government policies.\r These expressions emerge within a highly constrained environment shaped by censorship. Platforms that document such graffiti, such as Chineseuncensored, are frequently and swiftly shut down, underscoring the precarious position of writers who operate at the threshold between expression and suppression. As a result, many artists adopt indirect language, slang, or local idioms to convey critique while reducing personal risk. Under these conditions, state surveillance not only restricts content but also actively shapes form, rendering subversion an intrinsic component of the artwork itself.\r Politically oriented graffiti thus demonstrates the capacity of graffiti to function as a vehicle for socio-political critique in a context where overt opposition is fraught with danger. These works often address broader societal concerns, such as public health and personal freedoms, that resonate widely, fostering a sense of shared experience and solidarity among those who feel marginalized or constrained.\r Ultimately, the tension between artistic expression and political dissent in Chinese graffiti reveals the complex interplay of censorship, social commentary, and expressive resilience. Such writings operate simultaneously as reflections of contemporary social conditions and as acts of resistance within restrictive political environments."""@en ; write:includesArtwork . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU In Hong Kong, if you are sick, you don't see a doctor; you look at your wallet (在香港地,有病不是看醫生,是看看自己個銀包)" ; write:description "The \"CWU In Hong Kong, if you are sick, you don't see a doctor; you look at your wallet (在香港地,有病不是看醫生,是看看自己個銀包)\" is written in traditional Chinese characters and employs Cantonese vernacular syntax, reinforcing its local specificity and immediacy. Formally, the text is rendered in black, likely applied with a marker, on a tiled wall, with each character carefully positioned within the boundaries of a single tile. This strict alignment produces a grid-like visual order that contrasts with the critical and emotionally charged content of the message, a strategy frequently observed in text-based urban interventions."@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 19 ; write:transcriptionAndTranslation "In Hong Kong, if you are sick, you don't see a doctor; you look at your wallet."@en, "係香港地, 有病唔系睇医生, 系睇吓自己个銀包"@zh, "在香港地,有病不是看醫生,是看看自己個銀包"@zh, "Zài xiānggǎng de, yǒu bìng bùshì kàn yīshēng, shì kàn kàn zìjǐ gè yín bāo"@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Shao Honggeng 邵宏庚" ; wdt:P27 ; wdt:P569 "1970"^^xsd:gYear ; write:description "Hao Honggeng, born in 1970 in Yancheng, Jiangsu Province, is an internationally renowned designer and semiotician. He studied at the Department of Arts and Crafts at the Nanjing University of the Arts in 1990. Hao has contributed to the design of several iconic symbols, including the emblem of the Beijing Olympic Games and the Expo 2010 Shanghai emblem. His work seamlessly integrates art, calligraphy, and functional design, exemplified in creations such as the “Magnolia Blossom” tableware for state banquets and the Zisha teapot inspired by the World Expo logo. His artworks are preserved in the National Museum of China, and he has received the highest honors awarded to Chinese designers. Additionally, Hao has served on international juries for design awards and exhibitions, reflecting his prominent role in shaping contemporary Chinese visual culture." ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:isDesignerOf . a wd:Q7725310 ; wdt:P1071 , ; wdt:P1476 "Chinese Emotional Graffiti - Hope"@en ; wdt:P580 "2022"^^xsd:gYear ; write:description """In contrast to the predominantly negative emotional states articulated within Chinese Emotional Graffiti, a distinct subset of works foregrounds motivational language and expressions of hope. These inscriptions employ concise, affective phrases that function not merely as personal affirmations but as collective psychological interventions within public space.\r Hope, in this context, emerges as a crucial counterforce to the psychological distress and emotional fragmentation intensified by the COVID-19 pandemic. Rather than operating as a passive or abstract sentiment, it manifests as an active and sustaining energy, one that encourages perseverance and reaffirms the possibility of change, even under prolonged conditions of uncertainty and restriction. The belief that each passing day may carry the potential for renewal becomes central to these works, transforming written language into a vehicle of emotional resilience.\r Through their presence in the urban landscape, such graffiti articulate a desire to return to forms of social intimacy temporarily rendered inaccessible, reaffirming fundamental human needs for connection, affection, and autonomy. In doing so, these hopeful and motivational texts anticipate a broader thematic shift toward freedom, which constitutes the focus of the subsequent category under analysis."""@en ; write:includesArtwork . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU There is Hope (有希望 )" ; write:description """This CWU employs large-scale red Chinese characters (you xiwang 有希望 "there is hope"), painted directly onto ...\r This CWU is composed of the three characters you xiwang 有希望, which means ".....".\r The CWU There is Hope (有希望 )" employs large-scale red Chinese characters painted directly onto an urban wall using a paint roller rather than spray paint. This technical and visual choice explicitly recalls the aesthetic and ideological legacy of dazibao (big-character calligraphy).\r The graffiti is additionally framed by a blue outline, a detail that invites multiple interpretations. On a symbolic level, blue may connote trust, calm, stability, or endurance, contrasting with the urgency and intensity of red. Within Chinese visual culture, blue can also evoke notions of continuity, protection, or transcendence, subtly tempering the confrontational force of the red characters. Alternatively, the blue frame may function as a visual boundary, separating the message from the surrounding urban decay and granting it a sense of enclosure, preservation, or intentionality, almost as if isolating hope itself within a fragile perimeter.\r The chromatic pairing of red and blue is unlikely to be arbitrary. Red traditionally signifies fortune, vitality, and happiness, while blue may suggest rationality, distance, or emotional restraint. Together, they produce a visual tension that mirrors the broader sociopolitical climate: a moment marked by uncertainty, exhaustion, and suspended futures. In such a context, the declaration that “there is hope” reads less as naïve optimism than as an urgent, almost defiant emotional assertion."""@en ; write:directionality "Modern" ; write:hasBackgroundColour , ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , , ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool , ; write:numberOfCharacters 3 ; write:transcriptionAndTranslation "There is Hope"@en, "有希望"@zh, "Yǒu xīwàng"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU CAFA ART INFO Logo (CAFA ART INFO)" ; write:description "This CWUconsists of the three words CAFA ART INFO written using the unique writing system developed by Xu Bing, known as “New English Calligraphy” (Xin Yingwen shufa 新英文书法) or “Square Word Calligraphy” (Yingwen fangkuaizi shufa 英文方块字书法). Each word is contained within an imaginary square, mirroring the spatial arrangement of traditional Chinese characters. The letters of each word are constructed as if they were strokes of a characters, adhering to a specific sequence and methodology devised by Xu Bing. The resulting forms retain the dynamic qualities of ink brushwork, which are then vectorized and stylized to create the digital script. This approach produces a hybrid visual language, merging the structural logic of Chinese calligraphy with the legibility of Latin script." ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:transcriptionAndTranslation "CAFA ART INFO "@en ; write:vectorisedOrDigitised true . a wd:Q1400264 ; wdt:P2561 "Marc & Chantal Design" ; wdt:P276 ; wdt:P571 "1993"^^xsd:gYear ; wdt:P856 ; write:description """Marc & Chantal is a cross-disciplinary branding and design agency founded in 1993 in Hong Kong by creatives Marc Cansier, Chantal Réchaussat, and Marc Brulhart, with offices in Beijing and Europe (Barcelona). Their practice spans from brand strategy and visual identity to the design of environments, sensory experiences, and immersive projects, integrating graphic design, interior design, wayfinding, and visual storytelling within a holistic design approach.\r The trio operates as a form of artistic and creative collective, combining international backgrounds with a strong sensitivity to local cultures in order to develop projects for high-profile clients, including work in the hospitality, cultural, and retail sectors.\r An example of their work is the Hermès object and tableware collection “Les Poèmes du Mandarin” for which Marc & Chantal oversaw the creative direction and integrated design in close collaboration with the brand.""" ; write:hasArtisticCollectiveType ; write:isDesignerOf . a write:CalliWritingUnit ; wdt:P180 , , , , , , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , , , ; wdt:P9302 , , , , ; sch:thumbnailUrl ; write:attributedTitle "CWU 'Heart to Heart' - Label for the Château Mouton Rothschild 1996 (心)" ; write:description """This CWU is part of the label for the Château Mouton Rothschild 1996. It features five ideograms of the character xin 心 (heart), each rendered with subtle variations in stroke, pressure, and color intensity. The artist intermingled five different forms of the character to symbolize the links between mankind across the five continents. The work also includes a colophon in which the artist’s name appears in archaic characters (古干), preceded by the characters “Zhongguo 中国" (China) and followed by the title of the work (心), likewise rendered in the same archaic form. The original artwork made in Chinese ink on paper is then reproduced in high-quality techniques, in particular lithography for special prints, while the bottle labels themselves are printed.\r Gu Gan's work represents the upper part of the label. Immediately below is the wording ‘Encre de Chine par Gu Gan’ (Chinese ink by Gu Gan - on the left) and ‘Coer à Coeur’ (Heart to Heart - on the right), and further below is the rest of the standard wine label with the coat of arms, the vintage and the name of the wine and the winery in classical serif typeface. The interplay of flowing, expressive brushwork with precise printed typography creates a subtle tension between spontaneity and formality, reflecting the dialogue between Eastern calligraphy and Western writing tradition.""" ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:numberOfCharacters 5 ; write:transcriptionAndTranslation "Heart"@en, "心"@zh, "Xīn"@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Light Writing: The Heart Sutra n. 22 (无意识界)" ; write:description "This CWU is part of the photograph \"Light Writing: The Heart Sutra n. 22\" realized by Qiu Zhijie in 2005. It features the characters Wuyi shijie 無意識界 [无意识界], translated as “In the Void” or “No Realm of Consciousness,” an excerpt from the Heart Sutra. " ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:numberOfCharacters 4 ; write:transcriptionAndTranslation "In the Void/No Realm of Consciousness"@en, "无意识界"@zh, "無意識界"@zh, "Wúyìshí jiè"@zh-Latn ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Specially Designed Calligraphy Set Box in “Square Word Calligraphy”/ Specially Designed Four Treasures of the Study Box Realized in “Square Word Calligraphy” (在古代)" ; write:description "This CWU is part of the \"Specially Designed Calligraphy Set Box in 'Square Word Calligraphy'/ Specially Designed Four Treasures of the Study Box Realized in 'Square Word Calligraphy' \" realized by the contemporary Chinese artist Xu Bing. Xu Bing took the text of the poem “In Ancient Days” (Zai gudai 在古代, 2004) by Zhai Yongming, translated it into English, and converted each word into a “square unit” following the Square Word Calligraphy method. Each unit functions as a self-contained micro-character: it incorporates the letters of the original word arranged in a compact, balanced structure, similar to a traditional Chinese character. The result is a writing system that combines legibility with visual form, turning the poetic text into a mosaic of square symbols where calligraphy becomes both language and artistic expression." ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:numberOfCharacters 292 ; write:transcriptionAndTranslation """In ancient days, I’d only\r write letters, not knowing\r where we’d meet.\r \r Now I flood your email,\r my characters like stars\r chasing after you.\r I care little where they land.\r In ancient days, mountains were green facts.\r Blue water at our feet,\r we’d simply clasp fists, keeping faith\r we’d meet again.\r \r Now you fly this place and that,\r my small stars trailing through the sky,\r reaching out as to a sore spot,\r countless tries to patch\r the blue screen, though not hysterical.\r \r In ancient days, how many poems\r to be a Lao Shan Taoist, to slip into\r a cup of bamboo-leaf tea,\r stride on air, pass through brick walls\r and seize you. Or\r beat one’s head bloody.\r \r Now, you thumb a phone\r that wafts ten thousand scents,\r the fragrance of a distant body.\r One part trembles and a whole world shakes.\r \r Ancient days weren’t like this.\r We spurred the horses then, side by side,\r covering a few miles.\r My earrings clinked, a grin showed on your face.\r We kept ours heads down, and rode.\r \r © D. Shi e G. O’Connell"""@en, """Nel tempo antico, potevo soltanto\r scriverti lettere, senza sapere\r in qual parte del mondo\r ci saremmo rincontrati. \r \r Ora inondo la tua casella di posta:\r i miei caratteri, simili a stelle,
\r ti inseguono senza tregua\r e più non curo ove si posino. \r \r Nel tempo antico, i monti erano presenze quiete\r e l’acqua azzurra riposava ai loro piedi.\r Bastava un gesto delle mani\r per confidare nel nostro ritrovarci. \r \r Ora tu attraversi il cielo senza posa,
\r e le mie piccole stelle ti inseguono\r Ovunque.\r Quando ti sfiorano, è come toccare una ferita sottile. \r Ripetono il gesto del ricucire,\r in silenzio, \r uno schermo azzurro. \r \r Nel tempo antico, quante poesie\r occorrevano per farsi taoista di Laoshan,
\r per scivolare entro una tazza di tè\r alle foglie di bambù,\r camminare nell’aria, trapassare muri di mattoni
 \r e raggiungerti.
 \r Oppure cadere al suolo, feriti. \r \r Ora sfiori un telefono\r che reca con sé mille profumi lontani,
 \r il respiro d’un corpo assente.
 \r E quando un punto trema,
 \r trema il mondo intero. \r \r Nel tempo antico non era così.
 \r Si cavalcava fianco a fianco
 \r per poche miglia soltanto.
 \r Un tintinnio d’orecchini nel vento,
 \r un sorriso appena sorto sul tuo volto,
 \r poi gli occhi si chinavano.
 \r E si seguitava a cavalcare. \r \r © M. Merenda"""@it, """在古代，我只能这样\r 给你写信 并不知道\r 我们下一次\r 会在哪里见面\r \r 现在 我往你的邮箱\r 灌满了群星 它们都是五笔字形\r 它们站起来 为你奔跑\r 它们停泊在天上的某处\r 我并不关心\r \r 在古代 青山严格地存在\r 当绿水醉倒在他的脚下\r 我们只不过抱一抱拳 彼此\r 就知道后会有期\r \r 现在，你在天上飞来飞去\r 群星满天跑 碰到你就像碰到疼处\r 它们像无数的补丁 去堵截\r 一个蓝色屏幕 它们并不歇斯底里\r \r 在古代 人们要写多少首诗？\r 才能变成嶗山道士 穿过墙\r 穿过空气 再穿过一杯竹叶青\r 抓住你 更多的时候\r 他们头破血流 倒地不起\r \r 现在 你正拨一个手机号码\r 它发送上万种味道\r 它灌入了某个人的体香\r 当某个部位颤抖 全世界都颤抖\r \r 在古代 我们并不这样\r 我们只是并肩策马 走几十里地\r 当耳环玎璫作响 你微微一笑\r 低头间 我们又走了几十里地"""@zh, """在古代，我只能這樣\r 給你寫信 並不知道\r 我們下一次\r 會在哪裡見面\r \r 現在 我往你的郵箱\r 灌滿了群星 它們都是五筆字形\r 它們站起來 為你奔跑\r 它們停泊在天上的某處\r 我並不關心\r \r 在古代 青山嚴格地存在\r 當綠水醉倒在他的腳下\r 我們只不過抱一抱拳 彼此\r 就知道後會有期\r \r 現在，你在天上飛來飛去\r 群星滿天跑 碰到你就像碰到疼處\r 它們像無數的補丁 去堵截\r 一個藍色屏幕 它們並不歇斯底里\r \r 在古代 人們要寫多少首詩？\r 才能變成嶗山道士 穿過牆\r 穿過空氣 再穿過一杯竹葉青\r 抓住你 更多的時候\r 他們頭破血流 倒地不起\r \r 現在 你正撥一個手機號碼\r 它發送上萬種味道\r 它灌入了某個人的體香\r 當某個部位顫抖 全世界都顫抖\r \r 在古代 我們並不這樣\r 我們只是並肩策馬 走幾十里地\r 當耳環玎璫作響 你微微一笑\r 低頭間 我們又走了幾十里地"""@zh . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl , , ; write:attributedTitle "CWU Meditation (泉鸣起韵的松间...)" ; write:description """The calligraphic text written in Meditation (Chensi 沉思, 2021) translates the emotional atmosphere of Jules Massenet’s musical intermezzo into poetic language. The selected phrases evoke natural and contemplative imagery, such as “the murmuring spring threading a melodic rhythm” (quan ming qi yun 泉鸣起韵), “the poignant beauty born of sorrow” (beishang niang chu de qimei 悲伤酿出的凄美), “a thousand paper cranes soaring into the distance” (fei xiang yuanfang de qian zhihe 飞向远方的千纸鹤), "endless drifting threads” (yong wu zhijing de yousi 永无止境的游丝), “floating into the cosmos” (piao xiang taikong 飘向太空), and “the emotion of torn silk” (lie bo zhi qing 裂帛之情).\r These poetic fragments transform musical sensation into visual language. The imagery of flowing water, drifting threads, and quiet landscapes reflects the contemplative character evoked by the violin melody. Extremely pale ink washes represent the thoughts spreading into the cosmos, their boundless elegance subtly tinged with faint hints of red, green, and blue. Alternating light and dark ink and richer variations in brushwork, represents the interplay of the violin and orchestra, as well as the performers’ pure and graceful visual presence, Through these textual elements, the artwork integrates poetic imagery with calligraphic rhythm, creating a synesthetic correspondence between musical emotion and written form.""" ; write:directionality "Traditional" ; write:hasBackgroundColour , , , , ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image , , , , , ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 48 ; write:transcriptionAndTranslation """The murmuring spring threading a melodic rhythm \r drawing a long stream through the pines\r the poignant beauty born of sorrow\r a thousand paper cranes soaring into the distance\r endless drifting threads\r floating into the cosmos\r the heartbreaking emotion of torn silk\r lost in the dream of green trees"""@en, """泉鳴起韻\r 向松間拉出悠長的溪流\r 悲傷釀出的淒美\r 隨千紙鶴飛向遠方\r 永無止境的遊絲\r 飄向太空\r 裂帛之情\r 醉了綠樹之夢。"""@zh, """泉鸣起韵\r 向松间拉出悠长的溪流\r 悲伤酿出的凄美\r 随千纸鹤飞向远方\r 永无止境的游丝\r 飘向太空\r 裂帛之情\r 醉了绿树之梦。"""@zh, """Quán míng qǐ yùn\r xiàng sōng jiān lā chū yōucháng de xīliú\r bēishāng niàng chū de qīměi\r suí qiān zhǐhè fēi xiàng yuǎnfāng\r yǒng wú zhǐjìng de yóusī\r piāo xiàng tàikōng\r liè bó zhī qíng\r zuì le lǜshù zhī mèng."""@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Earth Script – Dust (薼)" ; write:description """\r "Dust" is part of Song Chen’s series titled "Earth Script", realized in 2018. The work presents a graphic variant of the character for 'dust' (chen 尘), rendered in the rare form 薼. The content implied by this character is influenced by Buddhist thought and reflects on the essence of existence: “life emerges from soil and ultimately returns to it, dust to dust, earth to earth” (artist's interview 2025). The medium foregrounds ‘dust’ as both substance and concept/message of transience and impermanence. The character derives from the archaic forms depicting running deer raising dust and earth. It is explicitly linked to Buddhist notions of dissolution and disappearance, as it links the idea of dust to cycles of decay and renewal. """ ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 1 ; write:transcriptionAndTranslation "dust / a species of Artemisia"@en, " 薼"@zh, "chén"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Emptiness (無)"@en ; write:description "This CWU is part of the dress entitled \"Emptiness (Wu 無)\" designed by Tsai Yifen in occasion of the \"From Ink to Apparel III\" exhibition held in Taipei in 2018. Inspired by Tong Yang-tze’s fourteen calligraphic styles of Wu, the CWU transforms the brushstrokes into textile form. Lace, corded details, and beaded embroidery trace the flowing, rhythmic gestures of the character, turning it into a three-dimensional, wearable symbol of emptiness. Through its structure and texture, the CWU embodies both the visual energy of calligraphy and the philosophical concept of “wu”—limitless space, potential, and void—within the garment."@en ; write:directionality "Free" ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:numberOfCharacters 1 ; write:transcriptionAndTranslation "emptiness"@en, "無"@zh, "wú"@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , ; wdt:P186 , , , ; wdt:P462 , , ; sch:thumbnailUrl ; write:attributedTitle "CWU Intangible Tangent"@en ; write:description """This CWU is conceptually associated with the dress "Intangible Tangent" (曲曲). It derives from the expressive calligraphic language of Tong Yang-tze and can be understood as an abstract linguistic element translated into visual form. In this context, the calligraphic stroke functions not only as part of written language but as a structural and aesthetic unit characterized by direction, pressure, expansion, and interruption. Removed from its original textual sequence, the sign becomes an autonomous element whose meaning is conveyed through gesture, rhythm, and spatial presence. The enlarged calligraphic "conceptual" signs visible on the garment emphasize the physicality of the brush movement, revealing variations in ink density and the dynamic tension between thick and thin lines. These characteristics allow the CWU to operate as both a trace of writing and a visual composition. Rather than being read as conventional characters, the strokes are perceived as abstract forms that retain the memory of linguistic structure while functioning primarily through their visual and gestural qualities.\r In this sense, the calligraphy associated with the dress represents a transformation of writing into an expanded visual language, where the CWU becomes a modular element capable of generating rhythm, movement, and continuity across the surface of the garment."""@en ; write:hasColophon false ; sch:image ; write:isUnitOf . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , ; wdt:P282 ; wdt:P407 ; wdt:P462 , ; wdt:P9302 ; wdt:P973 ; sch:thumbnailUrl ; write:attributedTitle "CWU Label for the Château Mouton Rothschild 2018" ; write:description "This CWU is part of the 2018 vintage Château Mouton Rothschild Label realized by Xu Bing. It consists of the brand name “Mouton Rothschild”, whose English letters are transformed into visual signs that mimic the structure of Chinese characters. Each letter, through the \"Square Word Calligraphy\" system, is reorganized and adapted within a compact square formation, creating a composition that conveys rhythm, balance, and a poetic sense of harmony. Through this transformation, the text becomes more than writing: it is a meditative, sculptural form, where language is experienced as visual art. The colophon, also rendered in Xu Bing’s \"Square Word Calligraphy\", presents the artist’s name in the same style, reinforcing the unity between visual form and conceptual invention."@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:transcriptionAndTranslation "Mouton Rothschild"@en . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P186 ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Left/Right: Deviation from the Centre (左、右)" ; write:description "The two characters \"左\" (left) and \"右\" (right) and the two words \"left\" and \"right\" are engraved on the sole of the performer's shoes. The performer is blindfolded and he tries to find the exit on the other side of a narrow hallway. On the floor, between the performance starting point and the exit, there is a line made of ink. If the performer walks straight, he reaches the exit without leaving any shoe prints behind. If he trails from the path, the words \"left\" and \"right\" will be imprinted to the surrounding floor, and he might run into the wall. The performance continues until the performer finally walks out of the exit."@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:transcriptionAndTranslation """left\r right"""@en, "左 , 右"@en, """zuǒ\r yòu"""@zh-Latn ; write:vectorisedOrDigitised false . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Sophia Huist" ; wdt:P27 ; wdt:P453 ; wdt:P569 "1972-03-29"^^xsd:date ; write:hasCalligraphicTraining "Not present"@en . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Bright Snow (晴雪)" ; write:description "This CWU is part of the work entitled \"Bright Snow (晴雪)\" executed in 1985 by Shao Yan. There are two characters and a lower-left little inscription. The two characters qing 晴 (“bright”), whose edges look like carved wood signs, and xue 雪 (“snow”), fat and thick with a firm central part, represent a surprising contrast just like the sunlight that spreads with roar over the silent snow. For both characters, Shao Yan adopts the “flying white” (feibai飞白) technique, which means using the half-dry brush, in order to represent the wild landscape of Northern China struck by violent snowstorms. The little inscription is written with brushstrokes full of ink and it has an angular shape, balancing the entire calligraphy. "@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:transcriptionAndTranslation "Bright snow"@en, "晴雪"@zh, "Qíng xuě"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; write:attributedTitle "CWU Surrounding (围)" ; write:description "This CWU is part of the artwork “Surrounding” executed in 1991 by Shao Yan. The character \"Wei 围 \" is written in traditional form (圍). It is composed by two opposing heavy vertical lines that incline from upper left to lower right, framing the artwork, and two horizontal lines that continue beyond the edge of the paper and appear cropped or abbreviated. Inside the frame, the first two horizontal lines are executed in centered-tip brushwork with “flying white” technique while the two horizontal lines in the lower part of the work are drown with moist ink, spread toward the right and merge in a more heavy stroke. In the upper part of the work Shao Yan executes a vertical line that parallels the two lines framing the work and another one to the right side that inclines from left to right. In the lower part he brushes a short and thick vertical line placed off-centerd (compared with the central position it takes in the character “wei”). In the middle part Shao Yan executes the element “口”, in a trapezoidal shape rather than in the original square shape. This element works with the four lines of the frame to balance the entire work. Although the outlines of this work seem to represent an ancient city wall where people are forced to live, the reference to reality is minimal and the work tends towards abstraction. "@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:transcriptionAndTranslation "Surrounding"@en, "圍 "@zh, "Wéi"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; write:attributedTitle """CWU Sea (海)\r """ ; write:description "This CWU is part of the artwork “Sea” (海), executed in 2001 by Shao Yan. The artist introduces a new technique consisting of the repeated execution of strokes on the paper which will later be washed in water. After the washing process, the character's structure shines clearly on the paper, with a large amount of ink and various intense gradiations. Shao Yan pays particular attention to the spacial order and the composition of the character but, introducing the element of water, he adds the concept of time to the construction of calligraphic space. He thus emphasises the instantaneous and unrepeatable nature of artistic creation."@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:transcriptionAndTranslation "Sea"@en, "海"@zh, "Hǎi"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; write:attributedTitle "CWU Army (军)" ; write:description """This CWU is part of the artwork “Army" (Jun 军), executed in 2003 by Shao Yan. Influenced by Western analythical cubism, the artist modifies the original structure of the character preventing its identification, denies the concept of classical perspective and destroying the calligraphic space, breaking it up and reorganising it into simple geometric shapes such as triangles and polygons.\r In “Jun” the geometric structure is concentrated on the central line while the outermost part, towards the edge, is more airy and open. Shao Yan thus wants to emphasise the layering and light effect produced by the geometric cut. The material structure is dominated by the geometric appearance of the lines that gather into inclined angular planes, and the straight lines and oblique planes suggest the changing position of the Chinese character structure. Shao Yan executed the character using ink 'washed' with water, which, unlike Western oil painting, softens the geometric deconstruction of the character structure."""@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:transcriptionAndTranslation "Army"@en, "军"@zh, "Jūn"@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , , , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Peach blossoms fall in a chaotic rain of red dust (桃花乱落红尘雨)" ; write:description """This CWU is part of the work “Peach blossoms fall in a chaotic rain of red dust”. This is an "artwork with more characters” (duozishu chuangzuo 多字数创作) executed by Shao Yan in 1995. It is characterised by a huge variation in the thickness of the lines and by words that seem to radiate from the centre of the work and to continue beyond the paper’s edge. The words are executed in an original cursive form, achieved by frequently changing the speed and direction of the brush until the characters become almost unreadable, in order to emphasise the harmony and movement of the lines. \r Shao Yan executed the characters taohua luanluo hongchengyu 桃花乱落红尘雨 in cursive style and placed them vertically on the paper to call to the viewer's mind the poetic image of the falling peach blossom and they are composed by horizontal lines and dots that cover the work and recall the lines of a score embellished with musical notes. This creates a perfect union between the spatial structure of Chinese characters and the temporal rhythm, which reminds of the crackling red rain.\r Shao Yan borrowed from the poem “Invitation to Wine” (Jiangjinjiu 将进酒) by Li He 李贺 (790-816) the expression "like red rain" (ruhongyu 如红雨) and transformed it into "rain of red dust" (hongchenyu 红尘雨), inserting the character chen 尘 ("dust" ) between the character hong 红 ("red") and yu 雨 ("rain"), whose structure is made of a continuous motion of inextricable lines to balance the work. The characters "chen" and "yu" work in concert with the characters hua 花 (“flower”) and luan 乱 ("chaotic”) to mirror the scene of peach blossoms sliding down like rainwater.\r The characters are executed not only with a usual brush but also with doubi 斗笔 (a large brush with the tip mounted on the final part of the bucket-shaped handle). \r With this artwork, Shao Yan does not want to reproduce the meaningful forms of the characters but wants to convey to the observer the feeling evoked by the poetic verses. \r \r """@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:transcriptionAndTranslation "Peach blossoms fall in a chaotic rain of red dust "@en, "桃花乱落红尘雨"@zh, "Táohuā luàn luò hóngchén yǔ"@zh-Latn . a wd:Q7725634 ; wdt:P1476 "Invitation to Wine (将进酒)"@en, "将进酒"@zh, "Jiangjinjiu"@zh-Latn ; wdt:P50 ; write:description "In this poem, Li He 李贺 (790-816) describes the day of youth about to twilight through the image of peach blossoms falling like red rain and invites people to spend their last happy years of youth in the company of wine and entertainment. The poem evokes the dualism between life and death and between youth and old age."@en ; write:transcriptionAndTranslation """Glass bell, thick amber, small trough wine dripping with pearl red. Cooking dragon cannon and phoenix jade fat weeping, Luo Wei embroidery curtain surrounds fragrance. \r Play the dragon flute, beat the drums, sing with white teeth, dance with a slender waist. \r In fact, the day of youth is about to twilight, and the peach blossoms are falling like red rain. \r I advise you to be drunk all day long, and the wine will not reach Liu Ling's grave. \r \r """@en, "琉璃钟，琥珀浓，小槽酒滴真珠红。烹龙炮凤玉脂泣，罗帏绣幕围香风。吹龙笛，击鼍鼓；皓齿歌，细腰舞。况是青春日将暮，桃花乱落如红雨。劝君终日酩酊醉，酒不到刘伶坟上土！"@zh, "Liu li zhong, hu po nong, xiao cao jiu di zhen zhu hong. peng long pao feng yu zhi qi, luo wei xiu mu wei xiang feng. chui long di, ji tuo gu; hao chi ge, xi yao wu. kuang shi qing chun ri jiang mu, tao hua luan luo ru hong yu. quan jun zhong ri ming ding zui, jiu bu dao liu ling fen shang tu!"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Flying Good Luck (飞来好运)" ; write:description "This CWU is part of the artwork “Flying Good Luck” executed in 2011 by Shao Yan. For this work, he used a long and sharp brush, which he dipped in thick ink to execute the characters in cursive script. With a series of sharp strokes on the paper, changes of direction, arching and lifting the brush, Shao Yan brushed the first two characters, fei 飞 (“to fly”) and lai 来 (“to come”), from the upper part toward the lower part of the work. At this point, he dipped the brush in a small amount of ink, lifted it up, quickly drawing in the air a semi-circular arc and scattering dots of ink in order to give life to the character hao 好 (“Good”). To execute the character yun 运 (“Luck”) he used the paibi 排笔 (a brush composed of small brushes joined together) tilted at a 45-degree angle and loaded with ink. The form of the characters evokes the image of a boat carried by the wind: the oblique part of the character \"yun\" 云 recalls the prow of the boat hit by the splashing waves, the vertical strokes of \"yun\" 云, \"lai\" 来 and \"hao\" 好 symbolize the mast of the boat and the ink splashes represent the sails rolled up by the wind."@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:transcriptionAndTranslation "Flying Good Luck "@en, "飞来好运"@zh, "Fēi lái hǎo yùn"@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , ; wdt:P186 , ; wdt:P462 ; write:attributedTitle "CWU The Thirty-Six Stratagems of using ink (lines)" ; write:description """This CWU is part of the artwork “The Thirty-Six Stratagems of using ink”, composed of 36 squares executed in 2008 by Shao Yan using a new tool: a syringe with a small ink reservoir. \r This CWU is Shao Yan's first experiment using a syringe of ink instead of a brush, the so called “ink shooting” (shemo 射墨) to write lines without meaning. The thick ink, squirting out of the syringe toward the paper, reminds of blood and the artist's life is the force that drives the tool. The entire artistic process is characterized by the force of the syringe, the force of gravity, the speed of the jet and the direction that create numerous ink marks of multiple shapes. Through this early experiment with the syringe, Shao Yan was amazed by the fan-like shapes that the ink, hurled at high speed like a projectile, formed on the paper, and this expedient enabled him to produce different shapes of lines and marks."""@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasSignificance "Set of lines (meaningless)" ; write:isUnitOf ; write:madeUsingTool . a wd:Q7725634 ; wdt:P1476 "The Thirty-Six Stratagems (三十六计)"@en, "三十六计"@zh, "Sanshiliu ji"@zh-Latn ; wdt:P1480 ; wdt:P50 ; wdt:P571 "0500"^^xsd:gYear ; write:description "The literary work called “The Thirty-Six Stratagems” (Sanshiliuji 三十六计) is an essay written by Wang Jingze 王敬則 in the sixth century, used to illustrate series of stratagems, used in politics, war and civil interaction. "@en . a write:CalliWritingUnit ; wdt:P180 , , , , ; wdt:P186 , , ; wdt:P462 ; write:attributedTitle "CWU Celestial Body/Zhang Qiang's Traceology Report A/B 55 (Li Ensu) Model: One Beach Sensation (lines)" ; write:description """This CWU is part of the performance "Celestial Body/Zhang Qiang Traceology Report A/B 55 (Li Ensu) Model: One Beach Sensation" [天体／张强踪迹学报告 A/B 55 (李恩素) 模型：海滩感觉之一]. \r This is the first time Zhang Qiang experiences writing on human body. The woman Li Ensu is wearing only a swimsuit and Zhang Qiang covers her swimsuit and body with black ink traces, turning his back to the subject. Although the artist's intent is writing recognizable Chinese characters and sentences, the three-dimensional bumps and movements of the female counterpart transform writing into simple ink traces."""@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; write:isUnitOf ; write:madeUsingTool . a wd:Q215627 ; wdt:P103 ; wdt:P21 ; wdt:P2561 "Li Ensu 李恩素" ; wdt:P27 ; wdt:P453 . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , , , , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Dezio (度西奥)" ; write:description """This Calli-Writing Unit consists of three Chinese characters "Duxiao 度西奥" (Dezio's Chinese name tag). Dezio used for the charactering a bubble style with 3D effects, embellished with two lightning bolts and a puppet on a blue background.\r The character xi 西 (West, Western) in the center of the piece is shaped like a yellow sullen face. It is interesting to note how the puppet xi 西 is interlocked between two red colored Chinese characters that are not puppets."""@en ; write:directionality "Modern" ; write:hasBackgroundColour , ; write:hasBigCharactersCalligraphy true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 3 ; write:transcriptionAndTranslation "Dezio"@en, "度西奥"@zh, "Dù xī ào"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , ; wdt:P9302 , ; sch:thumbnailUrl ; write:attributedTitle "CWU Demolition (拆)" ; write:description """This Calli-Writing Unit consists of the character "chai 拆" that means "to demolish a building and relocate the inhabitants" and is basically used to mark an old building that had been scheduled for demolition. It is usually painted in red on house walls. In this piece, Dezio portrays his protest against the demolition of old buildings by personifying the "chai 拆" character: on the left, the radical "hand 扌" becomes a hand holding a hammer and "hitting" the radical "jin 斤" (on the right side), depicted as an old Chinese house in the process of demolition. The personified "chai 拆" is painted with a white fill-in and a black outline and is bombed with lots of original Chinese "chai 拆" characters, marked in red and circled.\r Several artists have engaged with this character in the 1990s, for example Zhang Dali with the series "Dialogue and Demolition" (1995-2005) and Wang Jinsong with the project "Chai" (1999)."""@en ; write:directionality "Unidentifiable" ; write:hasBackgroundColour , , ; write:hasBigCharactersCalligraphy true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 1 ; write:transcriptionAndTranslation "to demolish"@en, "拆"@zh, "Chāi"@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P21 ; wdt:P2561 "Cao Rui 曹蕊" ; wdt:P27 ; wdt:P453 . a write:CalliWritingUnit ; wdt:P180 , , , , , ; wdt:P186 , , ; wdt:P462 ; write:attributedTitle "CWU Chaos (lines)" ; write:description """This CWU is part of the work “Chaos” (混沌) executed in 2011 by Shao Yan combining the technique of ink “washed” in water (shui de “chongxi” 水的 “冲洗”) with the use of a syringe. The artist added water to the ink in the syringe and then injected it on the paper allowing it to flow strong and free. \r Shao Yan decided to limit the work beauty by only executing solid lines. The initial buzzing sound emitted by the ink escaping from the syringe, gradually fades into silence and it could represent the flowing blood that, when stopping, puts an end to life."""@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasSignificance "Set of lines (meaningless)" ; write:isUnitOf ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU Desolation (幽)" ; write:description """This CWU is part of the work “Desolation” executed in 2008 by Shao Yan who was inspired by the Sichuan earthquake disaster (May 12, 2008).\r Shao Yan uses a paibi 排笔 brush (composed of small brushes joined together) and a long-tipped brush. The concave bottom of the character "you", should be intact and smooth but appears instead as a shaking groove. The bottom left corner tilts out of the work while the top right corner leaps in mid-air, filling the work with an enormous sense of instability like mountains collapsing as the earth quakes. The central part of the work is executed with a dry brush that creates the shapes of the cracks. Both '幺' elements of the character tilt and succumb together with the entire structure. The work is criss-crossed by dots and ink splashes that look like a crowd scattering in different directions but, there is no possibility to escape because it is impossible to elude natural disasters."""@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:transcriptionAndTranslation "Desolation"@en, "幽"@zh, "Yōu"@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Isabelle Giovacchini " ; wdt:P27 ; wdt:P453 ; wdt:P569 "1982"^^xsd:gYear ; wdt:P812 ; wdt:P856 ; wdt:P937 ; write:description "Isabelle Giovacchini was born in Nice in 1982. She lives and works between Paris and the Mediterranean, according to her projects. She first attended the École nationale supérieure de la Photographie in Arles and subsequently obtained a Master's degree in literary creation at the Université Jean-Jaurès in Toulouse. A rare and singular figure in French photography, Isabelle has presented her work particularly in cities such as Marseille, Montpellier, Reims, Nice, Tours, Paris and Berlin. She was able to develop her research during stays in France (Paris, Metz) and abroad (in countries such as Brazil, Germany and Italy). In 2020 Isabelle won the Epkhrasis scholarship, which takes the form of a critical text that appeared in Le Quotidien de l'Art. She is currently developing a project relating to the archaeological finds of Lake Nemi, near Rome."@en ; write:hasCalligraphicTraining "Not present"@en ; write:hasWikidataResource . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Orane Aguirre " ; wdt:P27 ; wdt:P453 ; wdt:P569 "1984-06-07"^^xsd:date ; write:hasCalligraphicTraining "Not present"@en . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Émeline Albespy " ; wdt:P27 ; wdt:P453 ; wdt:P569 "1985-12-11"^^xsd:date ; wdt:P812 ; wdt:P937 ; write:hasCalligraphicTraining "Not present"@en . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P186 , ; wdt:P462 ; write:attributedTitle "CWU Zhang Qiang's Traceology A/C32 Model Art Exhibition - Ink Action in Paris (lines)" ; write:description "This CWU is part of the performance \"Zhang Qiang's Traceology A/C32 Model Art Exhibition - Ink Action in Paris (张强踪迹 A/C 32 模型艺术展 - 巴黎行墨 )\". The \"traces of ink\" are deposited directly on the naked bodies of the three artists Émeline Albespy (艾米丽娜), Orane Aguirre (欧拉娜) e Isabelle Giovacchini (伊莎贝尔· 乔瓦契尼)."@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; write:isUnitOf ; write:madeUsingTool . a wd:Q7725634 ; wdt:P1476 "Immortal at the River (临江仙) "@en, "临江仙"@zh, "Lín jiāng xiān"@zh-Latn ; write:description """The poem “Immortal at the River” (Lin jiang xian 临江仙) was composed by the Song poet Teng Zijing 滕子京 (990-1047).\r In this poem, Teng Zijing describes the delightful landscape surrounding the Dongting Lake (prov. Hunan) during a misty autumn morning, evoking a melancholy atmosphere.\r Teng Zijing, commonly known by his courtesy name as Teng Zongliang 滕宗谅, was an official and a fellow of the great reformer Fan Zhongyan 范仲淹 (989-1052), who was the Chancellor of the Song Dynasty during the reign of Emperor Renzong (1010-1063). Teng Zijing was famous because in 1045, when he served as local prefect of Yuezhou 岳州 (present Yueyang 岳阳 – Hunan province), he restored the famed ancient Yueyang Tower, a city gate by the side of the Dongting Lake, enlarging its scale and engraving on it the complete anthology of the Tang (618-907) and Song Dynasty poems written in that place. To commemorate this event, Teng Zijing invited Fan Zhongyan to write a descriptive prose entitled Yueyang Lou Ji 岳阳楼记 (On Yueyang Tower), his most famous literature work (Murck 2000, 107). In this text, Fan Zhongyan depicted the breathtaking landscape surrounding the Yueyang Tower. Deeply affected by this beautiful scenery, also Teng Zijing decided to compose a poem entitled Lin jiang xian. In this poem, he firstly focused on the most charming part of the delightful landscape, the vast Dongting Lake (l. 1), which dazzled in the morning sun of an autumn day (l. 2). The well-known Junshan Hill with its peaks stood in the middle of the lake, and it is compared to the legendary island of Penglai 蓬莱, a mountain where the Daoist Immortals were said to live (l. 3). In the distance, a grey evening mist was emerging from the Yun and Meng Marshes (l. 4), and slowly faded the city of Yueyang (l. 5). The view of Junshan Hill recalls to poet’s mind the famous legend of the Xiang River Goddness (l. 6). Legend has it that 4,000 years ago when Emperor Shun toured in South China, his two concubines E Huang 娥皇 and Nü Ying 女英 (also called Xiang Fei 湘妃 and Xiang Jun 湘君) went to search for their husband. When they got to the Junshan Hill, they knew he was dead. They wept so long that the bamboos on which their tears dropped changed into mottled bamboos. Later they passed away and were buried on the hill, and to memorialise these two soulful lovers, the mountain was renamed Junshan 君山. In the second stanza of the poem, Teng Zijing commemorated this event evoking a melancholy tune played by the spirits of the Xiang River Goddesses (ll. 6-7). The song permeated the hearts of the listeners while a breeze was spreading the scent of the orchids (l. 8). But when the tune came to an end, people went away (l. 9), disappearing among the green mountains (l. 10). \r In this poem Teng Zijing quoted two other poems of the Tang period: i) the fourth and the fifth lines of his poem coincides with the third and the fourth lines of a poem by Meng Haoran’s 孟浩然 (689-740) entitled Gazing at Dongting Lake, Presented to Prime Minister Zhang’ (Wang Dongting hu zeng Zhang chengxiang 望洞庭湖赠张丞相); while ii) his last two lines correspond to the last two lines of a poem by Qian Qi’s 钱起 (ca. 722-785) entitled Musical soul of the Xiang River (Xiang ling guse 湘灵鼓瑟).\r """@en ; write:transcriptionAndTranslation """Lake water embraces the sky,\r Glows brightly in crystal autumn.\r Jun mount is a piece of paradise\r And a mist from the Yun and Meng Marshes \r Has beleaguered the city of Yueyang.\r Xiang River Goddesses play the lute\r Ancient memories sad hearts lacerate\r Orchid’s whispering delicately scented \r No one can be found whence the melodies ended\r On upper river verdant peaks silently stand.\r (Translator: A. Iezzi)\r """@en, """湖水连天天连水，\r 秋来分外澄清。\r 君山自是小蓬瀛。\r 气蒸云梦泽，\r 波撼岳阳城。\r 帝子有灵能鼓瑟，\r 凄然依旧伤情。\r 微闻兰芝动芳馨。\r 曲终人不见，\r 江上数峰青。"""@zh, """Húshuǐ lián tiāntiān lián shuǐ, \r qiū lái fèn wài chéngqīng. \r Jūnshān zì shì xiǎo péng yíng. \r Qì zhēng yún mèng zé, \r bō hàn yuèyáng chéng. \r Dì zǐ yǒu líng néng gǔ sè, \r qīrán yījiù shāng qíng. \r Wēi wén lánzhī dòng fāng xīn. \r Qǔ zhōng rén bùjiàn, \r jiāngshàng shù fēng qīng."""@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 , , ; wdt:P282 ; wdt:P462 ; wdt:P9302 , ; sch:thumbnailUrl ; write:attributedTitle "CWU Best Wishes (如意)" ; write:description "This CWU is part of the artwork \"Best Wishes (Ru yi 如意)\" executed in September 2022 by Shao Yan. Inspired by Ming “blue and white porcelain” (Qinghuaci青花瓷), the artist writes the two characters ruyi 如意 on a Chinese porcelain bottle vase (composed of a globular body and a long thin neck), employing a brush and blue ink. The character \"ru\" 如 is written in running script (行书) and also the character \"yi\" 意 is written in running script, but its component parts \"li\" 立 and \"ri\" 日 are written using the seal script form (zhuanshu 篆书). Shao Yan combines the structure of the characters and the shape of the bottle mouth vessel creating a work of unique elegance and beauty."@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:transcriptionAndTranslation "Best Wishes"@en, "如意"@zh, "Rúyì"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 , ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU Shao Yan Ceramic Ink Shooting (lines)" ; write:description "This CWU is part of the artwork \"Shao Yan Ceramic Ink Shooting (邵岩射墨的瓷瓶)\" executed in August 2022 by Shao Yan. Shao Yan uses a syringe to inject black ink on the Chinese white bottle vase (composed of a elongated oval body and a double concave thin neck) which is located on a rotating base. Shao Yan’s aim is to adapt the lines and marks created by the ink jet with the oval body and the concave thin neck of the vessel."@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasSignificance "Set of lines (meaningless)" ; sch:image ; write:isUnitOf ; write:madeUsingTool . a wd:Q215627 ; wdt:P103 ; wdt:P21 ; wdt:P2561 "Rachel" ; wdt:P27 ; wdt:P453 ; wdt:P569 "1972-11-16"^^xsd:date ; write:hasCalligraphicTraining "Not present"@en . a wd:Q215627 ; wdt:P103 ; wdt:P21 ; wdt:P2561 "Claire Portal" ; wdt:P27 ; wdt:P453 ; wdt:P569 "1983-02-24"^^xsd:date ; write:hasCalligraphicTraining "Not present"@en . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Zhao Jingyu 赵泾羽" ; wdt:P27 ; write:isDesignerOf . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P186 , , ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU Zhang Qiang's Traceology Report A/B 50 (Sophia) Model - performance/installation: plaster's geometric shapes (lines)" ; write:description "This CWU is part of the performance \"Zhang Qiang's Traceology Report A/B 50 (Sofia) Model - performance/installation: plaster's geometric shapes [张强踪迹学报告A/B50 (索非亚) 模型 - 行为/ 装置：石膏几何体]\". In this performance, Zhang Qiang writes on sheets of paper and on geometric shapes made of white chalk. The artist is seen from behind and never looks at where he paints, while the female British counterpart named Sophia Huist conveys the artist's movements. She moves the paper or objects on which Zhang Qiang is working, thus shattering, or deconstructing his work. The paper sheets and the plaster's geometric shapes are full of black ink traces (lines and spots). After being used for the performance, these geometric shapes will be also used for an installation." ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; sch:image ; write:isUnitOf ; write:madeUsingTool . a wd:Q7725634 ; wdt:P1476 "Full River Red (满江红)"@en, "满江红"@zh, "Mǎnjiānghóng"@zh-Latn ; wdt:P1480 ; wdt:P50 ; wdt:P571 "1140"^^xsd:gYear ; write:description "The poem entitled \"Full River Red\" (Man jiang hong 满 江红) was composed by Yue Fei 岳飞 (1103-1142), an officer of the Northern Song army. In 1127, when the Northern Song Dynasty came to an end as the Jurchen-Jin conquered northern China and the Song retreated south in the face of their attacks, he opposed the retreat. He continued, however, to serve the emperor of the Southern Song (1127-1279), engaging continuous battles with the Jurchen. He experienced success in his campaign against the Jin in 1140, but the Southern Song Gaozong Emperor (1107-1187) sought to make peace with the Jin, and ordered Yue Fei to withdraw, dashing in one moment all his achievements of ten years. Yue Fei composed this poem during one of his victorious campaign against the Jin. In this poem, he describes his strong efforts to recover the lost territory, to fight against the barbarians and to persuade the emperor to support his army."@en ; write:transcriptionAndTranslation """My hair bristles in my helmet.\r Standing by the balcony as the rain shower stops,\r I look up to the sky and loudly let Heaven know\r The strength of my passions.\r My accomplishments over thirty years are mere dust. \r I traveled eight thousand li with the clouds and the moon\r Never taking time to rest,\r For a young man’s hair grows white from despair. \r The humiliation of the Jingkang period\r Has not yet been wiped away.\r The indignation I feel as subject\r Has not yet been allayed.\r Let me drive off in a chariot\r To destroy these base at Helan Mountain.\r My ambition as a warrior\r Is to satisfy my hunger with the flesh of the barbarians,\r Then, while enjoying a rest,\r Slake my thirst with the blood of the tribesmen. \r Give me the chance to try again \r To recover our mountains and rivers \r Then report to the emperor. \r (Translator: Buckley 1993, 169-70)\r """@en, """Sotto l’elmo, la mia ira,\r sporto sulla balaustra,\r il picchiettio della pioggia si estingue.\r Gli occhi al cielo,\r un grido lancinante,\r e l’acuta forza del mio impeto.\r Trent’anni di gloria in polvere.\r Ottomila miglia di cammino,\r senza mai sostare,\r e la luna e le nuvole a vegliare.\r Il giovane capo è incanutito,\r è vano dolersi svilito.\r Vivida l’umiliazione della sconfitta,\r giammai estinta l’indignazione degli ufficiali.\r I lunghi carri affrettiamo\r contro le fortezze montuose dei nemici!\r Affamati, sfamiamoci\r con la carne dei barbari!\r Assetati, dissetiamoci\r col sangue dei barbari!\r Monti e fiumi riconquistiamo\r che al Celeste Impero restituiamo.\r (Translators: A. Iezzi, M. Merenda)"""@it, """怒发冲冠，\r 凭阑处、潇潇雨歇。\r 抬望眼，仰天长啸，壮怀激烈。\r 三十功名尘与土，八千里路云和月。\r 莫等闲，白了少年头，空悲切。\r 靖康耻，犹未雪；臣子恨，何时灭？\r 驾长车，踏破贺兰山缺。\r 壮志饥餐胡虏肉，笑谈渴饮匈奴血。\r 待从头，收拾旧山河，朝天阙。"""@zh, """Nùfàchōngguān, \r pínglán chù, xiāoxiāo yǔ xiē.\r Tái wàng yǎn, yǎngtiān cháng xiào, zhuànghuái jīliè. \r Sānshí gōngmíng chén yǔ tǔ, bāqiān lǐ lù yún hé yuè. \r Mò děngxián, báile shàonián tóu, kōng bēiqiè! \r Jìngkāng chǐ, yóu wèi xuě.\r Chénzǐ hèn, hé shí miè! \r Jià zhǎng chē, tàpò hèlánshān quē.\r Zhuàngzhì jī cān hú lǔ ròu, xiàotán kě yǐn xiōngnú xuè. \r Dài cóngtóu, shōushí jiù shānhé, cháo tiānquē."""@zh-Latn . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Watching the Sea and Listening to the Waves (观海听涛)" ; write:description """This CWU is part of the artwork “Watching the sea and listening to the waves” (Guan hai ting tao 观海听涛) executed in 2015 by Shao Yan. \r Shao Yan wrote the four characters on the surface of a cylindrical “maotong” (帽筒) vase in white porcelain. \r Shao Yan engraved the four characters on the surface of the vessel and then filled in the blue color. The four characters recall the "bird seal script" (niao zhuan 鸟篆), a kind of artistic script in common use during the late Warring States period (475-221 BC). This script is characterized by gently and intricated curved lines decorated with bird designs. In this work, Shao Yan re-elaborates this script drawing birds and fishes in a naïf style, recalling the acquatic scene evoked by the four characters. The style of the characters reflected a modern taste, still maintaining the essence of archaic Chinese characters."""@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:transcriptionAndTranslation "Watching the sea and listening to the waves"@en, "观海听涛"@zh, "Guan hai ting tao "@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Ma Yuanyuan 马媛媛" ; wdt:P27 ; wdt:P453 ; wdt:P569 "1979"^^xsd:gYear ; wdt:P742 "Chi Wu 赤乌" ; wdt:P812 ; wdt:P937 ; write:description "Ma Yuanyuan is originally from Gansu Province. She graduated from the Chinese Painting Department of the Sichuan Academy of Fine Arts in 2006. She is currently a professor of the Chinese Painting Department of the Sichuan Academy of Fine Arts, as well as a colleague of the artist Zhang Qiang. She is passionate about \"sword dance\", which she practices at an amateur level."@en ; write:hasCalligraphicTraining "Academic"@en . a write:CalliWritingUnit ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P462 ; sch:thumbnailUrl , , ; write:attributedTitle "CWU Zhang Qiang's Traceology Report A/C 24 (Chi Wu) Model (lines)" ; write:description "This CWU is part of the performance Zhang Qiang's Traceology Report A/C 24 (Chi Wu) Model [张强踪迹学报告 A/C 24 (赤乌) 模型]. The body of the female counterpart Chi Wu 赤乌 is full of \"ink traces\" leaved by Zhang Qiang through the brush. After being \"traced\" by Zhang Qiang, the performer Chi Wu (whose real name is Ma Yuanyuan 马媛媛) performs the \"sword dance\" (jianwu 剑舞), one of the four classical dances used in Chinese opera. While holding the sword, Chi Wu has two red Chinese knots tied to her wrist. Chi Wu's lips are also red, but painted only in the middle, not completely."@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; sch:image , , ; write:isUnitOf ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P462 ; write:attributedTitle "CWU Drifting Traces Installation (lines)" ; write:description "This CWU is part of the \"Drifting Traces\" Installation (lines). It consists of traces of ink Zhang Qiang realizes on geometric shapes made of plaster. "@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasSignificance "Set of lines (meaningless)" ; write:isUnitOf ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 , , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Daoist Talisman (道符)" ; write:description "The CWU is part of the artwork \"Daoist Talisman (道符)\". Qiu Zhijie reproduces four characters representing a Daoist talisman, carving on a layer of concrete. After the plate is dry, the inscription was printed on paper by rubbing with ink, and a new layer of concrete was poured, upon which a new set of characters was then inscribed. The style of the characters is formal, recalling the seal style and a type of decorative style also present in ancient utensils. It could also represent a real seal."@en ; write:directionality "Traditional" ; write:hasBackgroundColour , ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 4 . a write:CalliWritingUnit ; wdt:P180 , , , , , ; wdt:P186 , ; wdt:P462 ; write:attributedTitle "CWU Biface Graphy - Jinshanling Great Wall Installation (lines)" ; write:description "This CWU is part of the \"Biface Graphy - Jinshanling Great Wall Installation (双面书法 - 金山岭长城装置)\", created in June 2013 by Zhang Qiang and Lia Wei on the top of the Jinshanling Great Wall. It consists of the traces leaved on the three silk scrolls made during a \"Biface Graphy\" (双面书法) performance. "@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasSignificance "Set of lines (meaningless)" ; write:isUnitOf ; write:madeUsingTool . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Sound Series (声音系列)"@en, "声音系列"@zh, "Shēngyīn xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "2000"^^xsd:gYear ; write:description """In this series, the formal aspect of calligraphy is only partially considered and the way the space is handled looks quite natural and loose. There is an aesthetic articulation of elements and an overlapping of the characters in the composition (which remembers the performative works but also the more formal ones) but it is not stiff or symmetric. It seems that the artist wants to combine together something formal and something more spontaneous. The title "Sound Series" (Shengyin xilie 声音系列) recalls the sound of the character being repeated over and over. The size and the transparency of the characters are suggesting the intensity of the voice to pronounce the characters or simply the overlapping repetition of the same sound. The reading and the quality of the reading could also be part of the creative process and eventually, of the way one interacts with the artwork. The way the composition is articulated is conceptually and/or visually conceived to suggest how a repeated sound can be represented as it is diffused. There could be many levels. The execution (in painterly terms) is also interesting with its attempt to represent sound through the various subtle tones of black and grey and levels of density in the way ink is used, as in the traditional "ink and wash painting technique" (shuimo 水墨画). The composition is articulate as follows: a layer of larger characters from below getting smaller in the higher part and a second layer of big characters above getting smaller on the way down while overlapping the first layer. There is a diagonal movement suggesting both a certain spontaneity and a sense of tension and again suggesting an informal level of symmetry.\r In this series there are a lot of onomatopoeic Chinese characters both in traditional form and in simplified form, such as for example: "ai 唉" (expressing response); "ha 哈" (sound of laughing); "o 哦" (expressing doubt/realization); "ming 鳴" (sound of animals); "ca 嚓" (scraping sound); "pei 呸" (expressing disdain/disapproval); "wa 哇" (sound of crying or vomiting); "a 呵" (interjection of surprise), etc."""@en . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Dictionary Series (说文解字系列)"@en, "说文解字系列"@zh, "Shuō wén jiě zì xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "2000"^^xsd:gYear ; write:description """This series is characterized by the combination of a conceptual approach (as the title “Dictionary Series”, Shuo wen jie zi 说文解字 itself suggests ) with a sophisticated painterly execution. The characters are partly dissolving in the background and they are repeated and overlapping in a composition that reminds also of the representation of a natural landscape or a natural phenomenon. The works emanate a tension in the composition, expressed through the diagonal movement. Conceptually we assume that there has been an inquiry in reference to a dictionary from which certain characters have been selected, studied and re-interpreted with a combination of ink painting techniques. The format is also interesting, not being a typical vertical scroll but one that tends to the square space. The square geometry is also typical of the Chinese and Asian artistic and cultural traditions, but it is less common when it comes to calligraphy as it implies a relevant change in the choice of the articulation of positive and negative space, in the layout of the composition and in the quality of the act of writing. \r The size and shape of a calligraphic work can also suggest more information about the position and the quality of the gestures during the creative process. The materials (quality of paper and choice of brushes) also may suggest further conceptual elements to understand how the action of writing is approached. Here the brush seems to be only one of relatively medium dimensions and the writing style appears to be spontaneous and organized around the diagonal composition. The addition of the red stamps in the middle is another traditional element found in calligraphy practice.\r Each vertical-hang scroll is characterised by characters of the same radical, such as “zhi 志" (will); “yi 意" (desire); “bei 悲" (sorrow); "chou 愁" (worry); "yuan 愿" (hope); "yuan 怨" (resentment); "e 恶" (evil)"; "si 思" (think); "xiang 想" (consider); "nu 怒" (anger), etc., all containing the radical xin "心" (heart). Another vertical-hang scroll is characterised by characters all containing the radical "yan 言" (word), such as "yi 议" (discuss); "shuo 说" (say); "su 诉" (inform); "yu 语" (language); "ci 词" (word), etc. There may be also terms and contents of various types, such as the five elements of Chinese philosophy ( jin-mu-shui-huo-tu 金木水火土), or traditional folk sayings such as "riyue 日月" (sun and moon/time); "fengyu 风雨" (wind and rain/trials and hardships), "quanma 犬马" (dog or horse, which is a term used by courtiers in front of a sovereign to offer their humble service), etc.\r Instead of writing poems, songs and aphorisms, Qiu Zhijie decides to copy characters from a dictionary, constantly changing the content of his writing. The words on the sheet of paper, even if they do not form an actual statement, suddenly find meaning because the artist discovers that they belong to the same semantic category, linked to the same radical. For example, "xian 仙" (immortal/celestial being) and "Fo 佛" (Buddha) are both linked to the radical "ren 人" (human being), as for the words "jiliang 伎俩" (trick) and "yulu 伛偻" (humpbacked). \r The artist uses a type of Japanese paper called "zhangzi zhi 障子纸", composed of a protective layer made of stems, reeds and shrubs that resists repeated washing, writing and cleaning the paper several times to create a "layered" effect. While looking at the work, the viewer's eye can abandon the idea of linearity and wander freely at will."""@en . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU Shadow of a Qingdao Pine Tree (松影)" ; write:description "This CWU is part of Wei Ligang's work \"Shadow of a Qingdao Pine Tree (Qingdao de songying 青岛的松影)\" executed in 2010. The two characters songying 松影 (pine tree) are made with large black ink brushstrokes, exemplifying an attitude detached from a strict technical execution and rather developing in a more loose, natural and expressionist way."@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:transcriptionAndTranslation "Shadow of Pine Tree"@en, " 松影"@zh, "Sōngyǐng"@zh-Latn . a write:CalliWritingUnit ; wdt:P144 , ; wdt:P180 , , , , ; wdt:P186 , , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Quotations from Ouyang Xiu in Mad Cursive B (欧阳修辞抄狂草 A)" ; write:description "This CWU is part of the artwork \"Quotations from Ouyang Xiu in Mad Cursive B (Ouyang Xiu ci chao kuangcao B 欧阳修辞抄狂草 B) executed by Wei Ligang in 2016. The characters are realized in mad cursive script (cao shu 草书) as an homage to Ouyang Xiu 欧阳修 (1007-1072), one of the eight great masters of Tang (618-907) and Song Dynasty (960–1279), excellent intellectual, statesman, magistrate, calligrapher, poet and novelist of the Song Dynasty, whose epic life and achievements are among the most celebrated in Chinese history. Wei Ligang embeds his work in this lineage with this large scroll where he let his spontaneous but well-learned gestures flow on five vertical sequences of characters deconstructed into pure lyrical rhythm and juxtaposed through subtle tonal nuances, carefully mastered through the dilution of the ink and the sensibility of the movement. If the piece clearly evocates the spontaneity of the wild-grass style, nevertheless it also shows a deliberate accuracy and attention to showing a broad variety of strokes, an alternation of clean bold marks and more overlapping delicate ones, together with an eloquent mastery of tone. "@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 103 ; write:transcriptionAndTranslation "An emerald bird wavers on a wintry tree. A thousand peaks are lit by the setting sun. On the moss-strewn platform there are no flowers. The fragrance of warmed wine waft through a garden with pure apricot blossoms. The agarwood and musk having stopped burning, the duck-shaped brazier is cold. Moonlight envelops the pear flowers. Beyond the threshold are screens red and ravishing. The sparse forest gently sways. Where do I draw water from the golden well? Behind jade-like autumnal shadows I glance at the phoenix mirror. The muddled colors of agate swirl like mist. Butterflies tumble across dewy grass. The jade vase is clear like ice as ashes flutter from the animal-shaped brazier."@en, "一鳥隨寒翠 千峰明夕陽 苔榭無花 清杏園林煮酒香 沉麝不燒金鴨冷 籠月照梨花 檻外簾幛紅艷幾林輕裊 何處轆轤金井 玉秋影窺鷥鑑 煙瑙撩霧 蝶翻露草 玉壺冰瑩獸爐飛《歐陽修全集》摘辭亂草於京都宋莊 魏館秋窗 傅蝦麓並署翰 剛記。"@zh, "一鸟随寒翠 千峰明夕阳 苔榭无花 清杏园林煮酒香 沉麝不烧金鸭冷 笼月照梨花 槛外帘幛红艳几林轻袅 何处辘轳金井 玉秋影窥鸶鉴 烟瑙撩雾 蝶翻露草 玉壶冰莹兽炉飞《欧阳修全集》摘辞乱草于京都宋庄 魏馆秋窗 傅虾麓并署翰 刚记。"@zh, "Yī niǎo suí hán cuì qiān fēng míng xīyáng tái xiè wú huā qīng xìng yuánlín zhǔ jiǔ xiāng chén shè bù shāo jīn yā lěng lóng yuè zhào líhuā kǎn wài lián zhàng hóng yàn jǐ lín qīng niǎo hé chù lùlú jīnjǐng yù qiū yǐng kuī sī jiàn yān nǎo liāo wù dié fān lùcǎo yù hú bīng yíng shòu lú fēi “ōuyángxiū quánjí” zhāi cí luàn cǎo yú jīngdū sòng zhuāng wèi guǎn qiū chuāng fù xiā lù bìng shǔ hàn gāng jì."@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P186 , , ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU Ten Thousand Birds Startled by the Dawn Drums (signs)" ; write:description "This CWU is part of the work \"Ten Thousand Birds Startled by the Dawn Drums (Wan dian cheng niao jing shu gu de shuxie danwei 万点城鸟惊曙鼓)\" executed by Wei Ligang in 2011. In this work Wei Ligang, at least in part, moves away from any calligraphic register recognizable at first sight, to explore a different kind of composition which looks as if it was informed both by the modernist geometrical abstraction and also by some other figurative imagery and primitive decorative motives. In reality, this operation is part of nearly thirty years of artistic exploration, during which Wei Ligang has been creating a universal abstract language based on the lines and spatial structures of Chinese characters. This language attempts to accommodate the complexity of a variety of western and eastern elements. In his so-called \"Wei's Magic Block\" he deconstructs Chinese characters and incorporates image elements, tracing back to the origin of pictographs. The choice of the large round canvas and the mixed media technique (ink and acrylic) establishes another parallel between the eastern tradition (in which the round support is a classic choice but mainly on paper and silk) and the work of several western lyrical and geometrical abstract artists. The choice of another eastern classical element, the palette, black on golden-brown, together with the homogeneous thickness of the line contribute to highlight the hybridity of this work, which is then further re-elaborate with reversed colors on xuan paper mounted in the form of a large screen (as in the work \"Fluttering Butterflies and Buzzing Bees, a Pleasure Boat and Orchids at Dawn\", Die luan feng xuan lan xiao hua ge 蝶乱蜂喧 兰晓画舸, 2016). We could also find a visual reference for the shapes and the character of the Nazca Lines, a collection of giant geoglyphs—designs or motifs etched into the ground—located in the Peruvian coastal plain about 250 miles (400 kilometers) south of Lima, Peru. There are three basic types of Nazca Lines: straight lines, geometric designs and pictorial representations. The Nazca are large environmental artworks only visible from the sky, despite the obvious differences in terms of context, size and technicality."@en ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasSignificance "Set of signs (illegible)" ; sch:image ; write:isUnitOf ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; write:attributedTitle "CWU Scattered Needle Script, Looking through the Window (偶然的呼喊...)" ; write:description "In this Calli-Writing Unit, Fung Ming Chip didn’t write the entire characters of the poem “Looking through the Window” (Chuang wai wang 窗外望) but only some strokes/lines of the characters, so that the characters are no longer recognizable and the text is unreadable. He wrote these strokes in columns from right to left as in traditional calligraphy. He called this type of script \"scattered needle script\" (ou ran zhen 偶然针)."@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasSignificance "Set of signs (illegible)" ; write:isUnitOf ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 , ; wdt:P9302 ; write:attributedTitle "CWU Black on Black Script, Landscape B (大地寂靜...)" ; write:description "In this CWU, Fung Ming Chip made calligraphy by using diluted ink on a landscape background (specifically a background in which he represents a hill with some trees). The image shaped in the artwork is the representation of the text written in the calligraphy, entitled “Landscape B”. The poetic sentiments expressed in this poem are shaped with characters rendered nearly solid in form. Fung Ming Chip called this type of script “Black on black Script”, because the black characters are written on a black background."@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:transcriptionAndTranslation """Silent earth\r Saplings tiptoe across the\r Horizon"""@en, """大地寂静\r 数颗小树企图越过\r 地平线"""@zh, """大地寂靜\r 數顆小樹企圖越過\r 地平線"""@zh, """Dàdì jìjìng \r hù kē xiǎo shù qìtú yuèguò \r dìpíngxiàn"""@zh-Latn . a wd:Q7725634 ; wdt:P1476 " Landscape B (大地)"@en, " 大地"@zh, "Dadi"@zh-Latn ; wdt:P50 ; wdt:P571 "1997"^^xsd:gYear ; write:description "This poem, written by Fung Ming Chip, describes the view of a silent trees landscape."@en ; write:transcriptionAndTranslation """Silent earth\r Saplings tiptoe across the\r Horizon"""@en, """大地寂靜\r 數顆小樹企圖越過\r 地平線"""@zh, """Dàdì jìjìng\r hù kē xiǎo shù qìtú yuèguò\r dìpíngxiàn"""@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Dream (做梦)" ; write:description "This Calli-Writing Unit is composed of two characters 做梦 (DREAM!) made with a red duct tape. The sentence is meant to be the Chinese equivalent of a command with the verb in the imperative mode (Dream!). Since the new slogan had changed from Hu Jingtao’s ‘Harmonious society’ to Xi Jingping’s ‘Chinese Dream’, this action was thought to send a provocative message about the contradiction between the continuity of the unresolved precarity between the government change. The choice of red is obviously linked to the Chinese tradition of writing with red ink (and even blood) to convey and something urgent and aggressive. "@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:numberOfCharacters 2 ; write:transcriptionAndTranslation "Dream"@en, "做梦"@zh, "Zuòmèng"@zh-Latn . a wd:Q43229 ; wdt:P2561 "Department of Interpreting and Translation (DIT)" ; wdt:P276 ; wdt:P571 "2012"^^xsd:gYear ; wdt:P856 ; write:description """The Department of Interpreting and Translation (DIT) was born in October 2012, taking on the legacy of the former SITLeC Department and the former Advanced School of Modern Languages ​​for Interpreters and Translators (SSLMIT).\r The DIT places strong emphasis on research applied to the theoretical, practical and educational aspects of translation and interpreting, also with the support of new technologies, as well as on literary, genre and historical studies. The research strategies are therefore closely linked to the didactic and third mission aspects. This interaction and mutual valorisation have been considered fundamental characteristics for the Department since its creation.\r From the point of view of teaching, the DIT offers a first level degree course and two master's degree courses , all with limited enrollment, and is home to a research doctorate . It has over 10 equipped laboratories, both for teaching simultaneous interpretation and assisted and multimedia translation. The quality of the educational offer is demonstrated by the excellent attractiveness , with an average percentage of students registered for the selection tests between 300% and 650% of the available places.\r The DIT and its study programs are accredited by the most prestigious international networks , including the worldwide network of university institutions for the training of interpreters and translators (CIUTI), the European Master's in Translation (EMT) network, the International Master's in Conference Interpreting (EMCI) network and the International Doctorate in Translation Studies (ID-TS) network.\r Finally, on the third mission front, the Department has a strong vocation for continuous training and open teaching, in which it invests its skills. In particular, skills in translation, terminology and language technologies are at the center of numerous Lifelong learning events and targeted internships with companies. The teaching skills of language 1 and 2 are instead the subject of meetings with school teachers. The DIT also shows a marked interest in consolidating relationships with local stakeholders , in particular through projects and collaborations that make it possible to disseminate knowledge to the public in areas such astheater and audio description, children's literature and gender issues and issues related to translation and mediation by girls and boys who are children of migrants."""@en ; write:hasOrganisationType . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Lanting Xu Stones (《兰亭序》)" ; write:description """This CWU is part of the artwork "Lanting Xu Stones", made by Luo Qi for the performance "Luo Qi and Collegium Musicum Almae Matris - Musicalligraphy Performance (Luo Qi yu Boluoniya daxue yuedui - shufa yinyue biaoyan 洛齐与博洛尼亚大学乐队 - 书法音乐表演)". Luo Qi writes characters from the "Orchid Pavilion Preface" (Lanting Xu 兰亭序) on twelve Carrara marble stones with black ink. \r The characters inscribed on these twelve stones are: 茂林 (màolín, “luxuriant woods”), 曲水 (qǔshuǐ, “winding stream”), 游目骋怀 (yóu mù chěng huái, “to let the eyes wander and the mind expand”), 和畅 (héchàng, “harmonious and pleasant”), 仰观 (yǎngguān, “to gaze upward”), 俯察品类 (fǔchá pǐnlèi, “to observe all things below”), 崇山 (chóngshān, “lofty mountains”), 一觞一咏 (yī shāng yī yǒng, “one cup, one poem”), etc."""@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 48 ; write:transcriptionAndTranslation """lush forests\r slender bamboo\r winding stream\r eyes wander, mind soars free\r pure air, gentle breeze\r harmony and ease\r on this day, the sky is clear\r looking up, we behold the cosmos\r raising our gaze\r looking down, we observe all living forms\r delight and joy\r quiet emotions\r lofty mountains\r gathering of refined scholars\r cups of wine and verses shared"""@en, """茂林\r 修竹\r 曲水\r 游目骋怀\r 气清，惠风\r 和畅\r 是日也，天朗\r 仰观宇宙\r 仰观\r 俯察品类\r 可乐\r 幽情\r 崇山\r 群贤毕至\r 一觞一咏"""@zh, """茂林\r 修竹\r 曲水\r 遊目騁懷\r 氣清，惠風\r 和暢\r 是日也，天朗\r 仰觀宇宙\r 仰觀\r 俯察品類\r 可樂\r 幽情\r 崇山\r 群賢畢至\r 一觴一詠"""@zh, """mào lín\r xiū zhú\r qǔ shuǐ\r yóu mù chěng huái\r qì qīng, huì fēng\r hé chàng\r shì rì yě, tiān lǎng\r yǎng guān yǔ zhòu\r yǎng guān\r fǔ chá pǐn lèi\r kě lè\r yōu qíng\r chóng shān\r qún xián bì zhì\r yī shāng yī yǒng"""@zh-Latn . a wd:Q7725634 ; wdt:P1476 "Book of Jin (晋书)"@en, "晋书"@zh, "Jìnshū"@zh-Latn ; wdt:P50 ; wdt:P571 "0648"^^xsd:gYear ; write:description "The \"Book of Jin\" is an official Chinese historical text covering the history of the Jin dynasty from 266 to 420. It was compiled in 648 by a number of officials commissioned by the imperial court of the Tang dynasty, with chancellor Fang Xuanling 房玄齡 (579 - 648), as the lead editor, drawing mostly from official documents left from earlier archives. A few essays in volumes 1, 3, 54 and 80 were composed by the Tang dynasty's Emperor Taizong himself. However, the contents of the Book of Jin included not only the history of the Jin dynasty, but also that of the Sixteen Kingdoms period, which was contemporaneous with the Eastern Jin dynasty."@en ; write:hasWikidataResource . a write:CalliWritingUnit ; wdt:P1480 ; wdt:P180 , , , , , , , , , ; wdt:P186 , , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl , ; write:attributedTitle "CWU Chinese Knot - Chapter Three : She/Her (奸、奻 、姦、妖...)" ; write:description "This CWU is part of the performance \"Chinese Knots - Chapter Three : She/Her (结 - 第三章 : 她)\" which takes place in Linz (Austria) in 2022 in occasion of the \"Performance Festival: Non-fungible Body?\" (June, 16 - 19). The artist Echo Morgan, after colouring her body white, writes Chinese characters in red ink all over her body. She writes the character \"ta 她\"(she/her) on her face and her body becomes a scroll of \"patriarchal text\". The artist decides to cover her body with some derogatory and insulting words associated with the character \"nü 女\" (female), such as: \"jian 奸\" (rape); \"nuan 奻\" (stupid); \"jian 姦\" (evil); \"yao 妖\" (demon); \"biao 婊\"(bitch); \"piao 嫖\"(brothe); \"pin 姘\"(mistress); \"chang 娼\"(whore); \"ji 妓\"(prostitute); \"nu 奴\"(slave); \"shua 耍\"(play); \"lan 婪\"(greed); \"ning 佞\"(insincerity); \"wang 妄\" (foolish); \"yu 娱\"(entertainment); \"xian 嫌\"(fedup); \"fang 妨\"(harm); \"ji 嫉\" (envy) ; \"du 妒\" (jealous); \"bi 妣\" (dead mother); \"ban 姅\" (miscarriage). She also covers her body with famous Chinese saying such as: “Three Obediences and Four Virtues” (san cong si de 三从四德); “A woman's virtue is to have no talent\" (nuzi wu cai bian shi de 女子无才便是德); \"Men are superior and women are inferior” (nan zun nu bei 男尊女卑); \"Beauty leads to disaster/femme fatale” (hongyanhuoshui 红颜祸水)."@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image , ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 40 ; write:transcriptionAndTranslation """she/her\r rape\r stupid\r evil\r demon\r bitch\r brothe\r mistress\r whore\r prostitute\r slave\r play\r greed\r insincerity\r foolish\r entertainment\r fedup\r harm\r envy\r jealous\r dead mother\r miscarriage\r Three Obediences and Four Virtues\r A woman's virtue is to have no talent\r Men are superior and women are inferior\r Beauty leads to disaster/femme fatale"""@en, """她 \r 奸\r 奻\r 姦\r 妖\r 婊 \r 嫖\r 姘\r 娼\r 妓\r 奴 \r 耍\r 婪\r 佞\r 妄\r 娱\r 嫌\r 妨\r 嫉\r 妒\r 妣\r 姅\r 三从四德\r 女子无才便是德\r 男尊女卑\r 红颜祸水"""@zh, """Tā \r jiān \r nuán \r jiān \r yāo \r biǎo \r piáo \r pīn \r chāng \r jì \r nú \r shuǎ \r lán \r nìng \r wàng \r yú \r xián \r fáng \r jí \r dù \r bǐ\r bàn\r sān cóng sì dé \r nǚzǐ wú cái biàn shì dé\r nán zūn nǚ bēi\r hóngyánhuòshuǐ"""@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Jia Yinggao 嘉颖高" ; wdt:P27 ; wdt:P569 "1997"^^xsd:gYear ; wdt:P812 ; wdt:P856 ; wdt:P937 ; write:description "Jiaying Gao is a fellow PhD student in the Advanced Practices programme at Goldsmiths University of London, UK. Her research investigates the intersection of the body perceptions and the archives, particularly within the frame of Dance museums. She has an extensive research experience in the fields of Chinese dance, as well as cultural and ethnic policies and their impact on social and economic development at local, national and international levels. Gao is currently undertaking a practice-based project that aims to extend and reflect the performativity of identities and affects in dance archives."@en ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:isCalligrapherOf . a write:CalliWritingUnit ; wdt:P1480 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P282 , ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 权 - Power, Rights and Authority ( 人权、权、女权、真相...)" ; write:description "This CWU is part of the performance \"权 - Power, Rights and Authority\" which took place during the \"Festival Perform\" of Vertheuil-en-Médoc (France) in August 19, 2022. Face and body of the artist Echo Morgan and her children are written with fluorescent paint protest words in French and Chinese, such as: \"droit des femmes\"; \"pouvoir\"; \"égalité\"; \"droits des humains\"; \"droit queer\"; \"liberté\"; \"ren quan 人权\" (human rights); \"nü quan 女权\" (women rights); \"dongwu quan 动物权\" (animal rights); \"zhenxiang 真相\" (real situation), etc. "@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 9 ; write:transcriptionAndTranslation """human rights\r women rights\r animal rights\r real situation"""@en, """droit des femmes\r pouvoir\r égalité\r droits des humains\r droit queer\r liberté"""@fr, """人权\r 女权\r 动物权\r 真相"""@zh, """rénquán\r nǚquán\r dòngwù quán\r zhēnxiàng"""@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Music Script, Still Night (静夜...)" ; write:description "In this Calli-Writing Unit, Fung Ming Chip writes the poem composed by himself entitled \"Still Night\" (Jing ye 静夜) combining calligraphy and music. The characters are transformed but it is still possible to recognize them; although the traditional structure of the columns is not respected, the disposal of the characters is from top to bottom and from right to left. Many strokes are replaced by round dots (which do not belong to the category of strokes used in Chinese writing to compose characters) which recall the form of musical notes. Fung Ming Chip realizes this calligraphy while the music resonates in the air, letting himself be inspired by it. The artwork is harmonious and rhythmic, because it precisely follows the rhythm of the music that inspired it."@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:transcriptionAndTranslation """Still night\r Tape recorder\r Tenderly whispers\r Deeply from within its\r Memory"""@en, """静夜\r 录音机\r 轻轻告诉你\r 深沉在\r 回忆中"""@zh, """靜夜\r 錄音機\r 輕輕告訴你\r 深沉在\r 回憶中"""@zh, """Jìng yè \r lùyīnjī \r qīng qīng gàosù nǐ \r shēnchén zài \r huíyì zhōng"""@zh-Latn . a wd:Q7725634 ; wdt:P1476 "Still Night (静夜)"@en, "静夜"@zh, "Jìngyè"@zh-Latn ; wdt:P50 ; wdt:P571 "2015"^^xsd:gYear ; write:description "This poem entitled \"Still Night\" (Jing ye 静夜) was composed by Fung Ming Chip. As night falls, music coming from a tape recorder inspires tender memories in the artist mind."@en ; write:transcriptionAndTranslation """Still night\r Tape recorder\r Tenderly whispers\r Deeply from within its\r Memory"""@en, """靜夜\r 錄音機\r 輕輕告訴你\r 深沉在\r 回憶中"""@zh, """Jìng yè\r lùyīnjī\r qīng qīng gàosù nǐ\r shēnchén zài\r huíyì zhōng"""@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 , , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Rubbing script, I am who I am, change me no one can (我有我在...)" ; write:description "In this Calli-Writing Unit, Fung MIng Chip wrote the sentence: wǒ yǒu wǒ zài, xī shén wúnài \"我有我在, 息神无奈\", whose meaning is \"I am who I am, Change me no one can\". The big characters are written vertically in only one column. In this work, the artist plays with different dilutions of ink in water, creating stratified effects. The \"script type\" he creates in this work is \"rubbing script\" (ta zi 拓字) that reproduces the effect of rubbing tehnique. The artist wrote the characters on xuan paper with water and put the piece of paper into a pool of ink. The traces of writing instantly revealed themselves. "@en ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:transcriptionAndTranslation """I am who I am, \r Change me no one can"""@en, """我有我在, \r 息神无奈"""@zh, """我有我在, \r 息神無奈"""@zh, """wǒ yǒu wǒ zài, \r xī shén wúnài """@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; write:attributedTitle "CWU Dance Remains: Heart (心)" ; write:description "This CWU is part of the photograph \"Dance Remains: Heart (舞迹 : 心)\". It consists of the character \"xin 心\" (heart) made in \"Nüshu 女书\" realized by a dancer. Artist Jessie Yingying Gong applied LED lights to the body of a dancer who freely performed dance moves. "@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:transcriptionAndTranslation "heart"@en, "心"@zh, "Xīn"@zh-Latn ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 ; wdt:P282 ; wdt:P462 ; write:attributedTitle "CWU New Semiotics : Happiness (福)" ; write:description "This CWU is part of the artwork \"New Semiotics : Happiness (新符号学 : 福)\". It consists of a figure designed by Jessie Yingying Gong which represents the Chinese character \"Happiness\" written in oracle bone script and made with red color neon light. "@en ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:transcriptionAndTranslation "happiness"@en, "福"@zh, "fú"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 ; wdt:P282 , ; wdt:P407 , ; wdt:P462 , ; wdt:P9302 ; write:attributedTitle "CWU Enfolding - Safe (安)" ; write:description "This CWU is part of the artwork \"Enfolding - Safe (安)\" realized by Jessie Yingying Gong in 2019. It consists of the Chinese character \"an 安\"(safe) written in regular script mixed with its Nushu script form. By folding the sheet several times, an optical effect is obtained in which the two characters appear to join each other. "@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:transcriptionAndTranslation "safe"@en, "安"@zh, "Ān"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , , , ; wdt:P186 , , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU A Love Poem Written in Water (我在水中...)" ; write:description "This CWU is part of the performance \"A Love Poem Written in Water (写在水中的爱情诗)\". Li Xinmo starts rewriting a love poem written by herself using a classical lyric form (ci 词) using vermilion ink on a silk cloth. The characters are spreading outward in the water and all that remained on the white silk cloth are stained spots that resembled tears. As the artists specified: \" It's a poem that I created before the performance. It was a writing of my feelings about a love that I had experienced, an intimate inner experience. I put a long strip of white yarn in the water and then wrote the poem in vermillion ink, the writing dispersing as I wrote. The poem eventually dissolved in the water. The process of this performance is also an interpretation of love, that it is fickle, sad, uncertain, and impossible to keep. With this work I may be saying goodbye to the love I have experienced before, and to the person I once was\"."@en ; write:directionality "Unidentifiable" ; write:hasBackgroundColour , ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 136 ; write:transcriptionAndTranslation """I met you in the water\r And wrote love in water.\r \r I have written your name in sea water.\r On my hand.\r Now it only tastes salty\r Blown away by the sea breeze.\r \r The rose rises in the water\r And wither in the water\r But the thorns do not wither\r They grow in rows inside me\r \r I know your gaze is the abyss\r If I leap\r Into the infinite darkness of the night\r \r Now I am in the darkness\r I pick up again the rose in the water\r And some faint writing\r \r I stand with the thorns\r """@en, """我在水中遇見你\r 並把愛情寫在水中。\r 我曾用海水寫你的名字，\r 在我的手上。\r 現在它只剩下鹹味\r 被海風帶走。"""@zh, """我在水中遇见你\r 并把爱情写在水中。\r 我曾用海水写你的名字，\r 在我的手上。\r 现在它只剩下咸味\r 被海风带走。\r \r 玫瑰在水中升起\r 也在水中凋零\r 而棘刺却不会枯萎\r 它们一排排在我的内部生长\r \r 我知道你的凝视就是深渊\r 只要我纵身一跃\r 便会跳入无边的暗夜\r \r 此时，我置身黑暗中\r 再次掬起水中的玫瑰\r 和一些模糊的字迹\r \r 我和荆棘站在一起"""@zh, """Wǒ zài shuǐzhōng yùjiàn nǐ \r bìng bǎ àiqíng xiě zài shuǐzhōng. \r Wǒ céng yòng hǎishuǐ xiě nǐ de míngzì, \r zài wǒ de shǒu shàng. \r Xiànzài tā zhǐ shèng xià xián wèi \r bèi hǎifēng dài zǒu. \r \r Méiguī zài shuǐzhōng shēng qǐ \r yě zài shuǐzhōng diāolíng \r ér jícì què bù huì kūwěi \r tāmen yī pái pái zài wǒ de nèibù shēngzhǎng \r \r wǒ zhīdào nǐ de níngshì jiùshì shēnyuān \r zhǐyào wǒ zòngshēn yī yuè\r biàn huì tiào rù wúbiān de ànyè \r \r cǐ shí, wǒ zhìshēn hēi'àn zhōng \r zàicì jū qǐ shuǐzhōng de méiguī \r hé yīxiē móhú de zìjì \r \r wǒ hé jīngjí zhàn zài yīqǐ\r """@zh-Latn ; write:vectorisedOrDigitised false . a wd:Q7725634 ; wdt:P1476 "Lotus Sutra (法华经)"@en, "法华经"@zh, "Fǎhuá jīng"@zh-Latn ; wdt:P1480 ; wdt:P50 ; wdt:P571 "0263"^^xsd:gYear ; write:description "The “Lotus Sūtra” (Miaofa lianhua jing 妙法莲华经) is one of the most influential and venerated Buddhist Mahāyāna sūtras. It was composed by Kumarajiva (344 or 350 – 413), a Buddhist monk, scholar, missionary and translator from the Kingdom of Kucha (present-day Aksu Prefecture, Xinjiang, China) between 263–62. The shortened Chinese title given by the monk is \"Fahua jing 法华经\" (Dharma Exalted Sutra). Two central teachings of the Lotus Sūtra have been very influential for Mahāyāna Buddhism. The first is the doctrine of the “One Vehicle”, which says that all Buddhist paths and practices lead to Buddhahood and so they are all merely \"skillful means\" of reaching Buddhahood. The second is the idea that the lifespan of the Buddha is immeasurable and that therefore, he did not really pass on into final Nirvana (he only appeared to do so as upāya) but is still active teaching the Dharma. Another important teaching of the “Lotus Sūtra” is that all beings can become Buddhas."@en ; write:hasWikidataResource . a write:CalliWritingUnit ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; write:attributedTitle """CWU Landscape Painting Painted in Water (千里江山)\r """ ; write:description """This CWU is part of the artwork realized by Li Xinmo during the performance "Landscape Painting Painted in Water (画在水中的山水)". It consists of the four characters "Qianli jiangshan 千里江山" (One Thousand Li of Rivers and Mountains) written with red vermillion ink in traditional form. These characters are inspired by a long scroll of blue and green landscapes painted by Wang Ximeng 王希孟 (1096 – 1119) a painter of the Song Dynasty entitled: “One Thousand Li of Rivers and Mountains" (Qianli jianshan tu千里江山圖) , a very famous landscape painting which depicts the wonderful landscape of China. The stark contrast of the red ink on green algae slowly dissipates into the pond’s water, rendering the characters illegible.\r \r This painting is probably the finest example of Chinese blue-green landscape painting. It is the only surviving piece by the young genius Wang Ximeng, who painted it under Emperor Huizong’s guidance when he was 18 years old. Little is known about Wang Ximeng himself. It is said that he passed away probably around the age of 20. \r The entire piece, painted in the hand scroll format, deployed scattered perspectives and the three visual angles (height, depth, level-distance), which are commonly used in Chinese landscape paintings. When viewing this piece, the viewer’s line of sight is directed along the contours of the mountains and rivers with a panoramic view of thousands of miles across. This painting uses scarce mineral pigments with bright colors to depict the peaceful and prosperous country. In ancient Chinese landscape paintings, especially court paintings, the natural landscape is often a metaphor for the Emperor’s longevity and the dynasty’s everlasting prosperity. "One Thousand Li of Rivers and Mountains", as its name implies, depicts the vast country landscape. It is the ideal world with perfect order and harmony according to the Emperor’s will, and it is also the Daoist fairyland in the heart of the Daoist Emperor Huizong."""@en ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:transcriptionAndTranslation "One Thousand Li of Rivers and Mountains"@en, "千里江山"@zh, "Qiānlǐ jiāngshān"@zh-Latn ; write:vectorisedOrDigitised false . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 , , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Raindrop Script, Heart Sutra ( 色不異空...)" ; write:description "This Calli-Writing Unit is composed of four verses of the Heart Sutra: \"Form is not other than emptiness, emptiness is not other than form. Form itself is emptiness, emptiness itself is form\". Using these verses the artist wants to link the artwork with one of the main concept of the Buddhist doctrine that is \"emptiness\" (kong 空). Infact, he uses a tecnique that wants to reproduce the ephimeral nature of the raindrops. For doing this he firstly used a brush full of ink on a plastic sheet, creating droplets on its non-absorbent surface. Then, using a dry brush and the ink droplets left on the plastic sheet, he wrote these four verses of the Heart Sutra. Finally, he positioned a sheet of rice paper on the written plastic sheet, transferring the traced content from the plastic to the paper."@en ; write:hasBackgroundColour , ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:transcriptionAndTranslation "Form is not other than emptiness, emptiness is not other than form. Form itself is emptiness, emptiness itself is form."@en, "色不异空，空不异色，色即是空，空即是色"@zh, "色不異空，空不異色，色即是空，空即是色"@zh, "Sè bù yì kōng, kōng bù yì sè, sèjíshìkōng, kōngjíshìsè"@zh-Latn . a wd:Q7725634 ; wdt:P1476 "Discussing, Writing and Explaining Characters (说文解字)"@en, "说文解字"@zh, "Shuōwén Jiězì"@zh-Latn ; wdt:P1480 ; wdt:P50 ; wdt:P571 "0100"^^xsd:gYear ; write:description "The \"Shuowen Jiezi 说文解字\" is an ancient Chinese dictionary from the Eastern Han dynasty composed by Xu Shen (c. 58 – c. 148 CE). It was the first dictionary to analyze the structure of the characters and to give the rationale behind them, as well as the first to use the principle of organization by sections with shared components called radicals (bushou 部首)."@en ; write:hasWikidataResource . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Wu Hung 巫鸿" ; wdt:P27 ; wdt:P569 "1945"^^xsd:gYear ; wdt:P812 ; wdt:P937 ; sch:thumbnailUrl ; write:description "Wu Hung is Director of the Center for the Art of East Asia, and Consulting Curator of the Smart Museum of Art at the University of Chicago. He is an elected member of the American Academy of Arts and Sciences and the American Philosophical Society, and sits on the boards and advisory committees of many research institutes and museums in the United States and China. Wu Hung is the principal curator of the art exhibition \"Wang Dongling: The Bamboo Path“ (王冬龄：竹径)"@en ; write:hasCalligraphicTraining "Not present"@en ; write:hasWikidataResource ; sch:image ; write:isCuratorOf . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 , ; sch:thumbnailUrl ; write:attributedTitle "CWU Filling the World with Love (《让世界充满爱》)" ; write:description """The content of this CWU is the song "Let the World Be Full of Love" (Rang shijie chongman ai 让世界充满爱) by the Chinese composer Guo Feng 郭峰 (b. 1962). This song was composed in response to Michael Jackson's "We are the World" and to other American pop songs. It is in fact a hymn to peace, fraternity and universal love. It was first presented to the public at a charity concert held at the Beijing Workers' Stadium on May 9, 1986 in commemoration of the International Year of Peace. This concert involved more than one hundred Chinese singers. The show caused a huge sensation in mainland China, and the theme song "Let the World Be Full of Love" became a hit. The performance greatly promoted the development of Chinese original pop music and became one of the milestones in the history of Chinese pop music, and Guo Feng was later hailed by the Chinese official media as "the first person to launch Chinese original pop music" (Chinaedunet.com). The influence of "Let the World Be Full of Love" continues to this day, as it was used as one of the theme songs for the opening ceremony of the Beijing Winter Olympics in 2022.\r Wang Dongling wrote the text of this song in 'Chaos Script' (luanshu 乱书), his personal illegible cursive script, using an Apple pencil on an iPad screen. The color of calligraphy is a vivid violet, which evokes the graffiti style. The background features a detail from arguably the most famous portrait in the world, Leonardo da Vinci's "Mona Lisa".\r """@en ; write:directionality "Traditional" ; write:hasBackgroundColour , , ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 130 ; write:transcriptionAndTranslation """Tenderly holding you face\r To wipe away you tears\r My heart always belong to you\r Tell me you’ll never be alone\r Looking deeply into you eyes\r No need to say another word\r Holding tightly onto your hands\r This warmth will never ever change\r Together we share joy\r We share same sorrow\r And we have the same aspiration\r Together we strive\r Together we dream\r We treasure the same love in our hearts\r No matter if we know each other\r No matter if you’re here or faraway\r Let us pray with sincerity\r To wish you peace and happiness."""@en, """轻轻地捧起你的脸\r 为你把眼泪擦干\r 这颗心永远属于你\r 告诉我不再孤单\r 深深地凝望你的眼\r 不需要更多的语言\r 紧紧地握住你的手\r 这温暖依旧未改变\r 我们同欢乐\r 我们同忍受\r 我们怀着同样的期待\r 我们共风雨\r 我们共追求\r 我们珍存同一样的爱\r 无论你我可曾相识\r 无论在眼前在天边\r 真心的为你祝愿\r 祝愿你幸福平安\r \r """@zh, """Qīng qīng de pěng qǐ nǐ de liǎn\r wèi nǐ bǎ yǎnlèi cā gān\r zhè kē xīn yǒngyuǎn shǔyú nǐ\r gàosù wǒ bù zài gūdān\r shēn shēn de níngwàng nǐ de yǎn\r bù xūyào gèng duō de yǔyán\r jǐn jǐn de wò zhù nǐ de shǒu\r zhè wēnnuǎn yījiù wèi gǎibiàn\r wǒmen tóng huānlè\r wǒmen tóng rěnshòu\r wǒmen huáizhe tóngyàng de qídài\r wǒmen gòng fēngyǔ\r wǒmen gòng zhuīqiú\r wǒmen zhēn cún tóng yīyàng de ài\r wúlùn nǐ wǒ kě céng xiāngshí\r wúlùn zài yǎnqián zài tiānbiān\r zhēnxīn de wèi nǐ zhùyuàn\r zhùyuàn nǐ xìngfú píng'ān"""@zh-Latn ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , ; wdt:P186 , , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU View from Heaven (泰山成砥砺...)" ; write:description """ This CWU is part of the artwork "View from Heaven" (泰山成砥砺, 黄河为裳带). It represents ten huge characters of different dimensions. The content is a transcription of two lines from the 48th poem included in the collection entitled "Singing My Cares" (Yong huai 咏怀) by the poet Ruan Ji (210-263) . (Reference of the collection is the Fan Qin/Chen Dewen edition). In the visual result given by the ten monumental characters of "View from Heaven", and in particular in the last character of the verse (dai 带), projected onto the entire surface of the final panel, we see the influence of a Japanese calligraphic current, known as the Few-characters current (shao zi pai 少字派). In particular, the work recalls the style by Inoue Yuichi (井上有一, 1916-1985) and its impact on Wang Dongling's art, who began producing monumental characters in his studio in 1985. As declared by Gao (2021: xi) , "The work gives the viewers an impression as if they were facing gigantic pieces of cliff inscriptions on the northern mountains. The ten huge characters in Cursive Script exhibit a remarkable vigorand innate solidity and exuberance as if they travelled through eternity, with a cosmic solitude facing heaven and earth alone, as well as a mountain-moving and ocean-filling power”.\r """@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 10 ; write:transcriptionAndTranslation """Mount Tai became as small as a millstone, the Yellow River became as thin as a sash.\r """@en, "The towering Mount Tai looks as small as a grindstone."@en, "泰山成砥砺,，黄河为裳带。"@zh, "泰山成砥礪，黃河為裳帶。"@zh, "Tàishān chéng dǐlì, Huánghé wéi cháng dài."@zh-Latn . a wd:Q7725634 ; wdt:P1476 "Singing My Cares (咏怀)"@en, "咏怀"@zh, "Yǒnghuái"@zh-Latn ; wdt:P1480 ; wdt:P50 ; wdt:P571 "0250"^^xsd:gYear ; write:description """This collection of poems was written by Ruan Ji 阮籍 (210–263), a Chinese musician and poet who lived between the late Eastern Han dynasty (25-220 CE) and the Three Kingdoms period (220 to 280 CE) of Chinese history. He was one of the Seven Sages of the Bamboo Grove.\r The reference of this collection is the Fan Qin/Chen Dewen edition.\r """@en ; write:transcriptionAndTranslation """The blazing light extends over thousands of leagues,\r the mighty river sweeps through swirls and rapids.\r My bent bow is hung from the Fusang Tree (where the sun rises),\r my long sword rests beyond the horizon.\r Mount Tai is my whetstone,\r the Yellow River is the sash of my gown.\r I turn to consider Master Zhuang Zhou,\r neither flourishing nor withering could be trusted.\r His body perished and was left in the wilds\r where ravens and kites worked it harm.\r How can he equal the manly warrior\r whose deeds and fame become great thereby?\r \r (Translation by Stephen Owen, The Poetry of Ruan Ji and Xi Kang, 2017, p. 89)"""@en, """炎光延万里，洪川荡湍濑。\r 弯弓挂扶桑，长剑倚天外。\r 泰山成砥砺，黄河为裳带。\r 视彼庄周子，荣枯何足赖？\r 捐身弃中野，乌鸢作患害。\r 岂若雄杰士，功名从此大！"""@zh, """炎光延萬里，洪川蕩湍瀨。\r 彎弓掛扶桑，長劍倚天外。\r 泰山成砥礪，黃河為裳帶。\r 視彼莊周子，榮枯何足賴？\r 捐身棄中野，烏鳶作患害。\r 豈若雄傑士，功名從此大！"""@zh, """Yán guāngyán wànlǐ, hóng chuān dàng tuān lài.\r Wān gōng guà fúsāng, zhǎng jiàn yǐtiān wài.\r Tàishān chéng dǐlì, huánghé wèi shang dài.\r Shì bǐ zhuāng zhōuzi, róng kū hé zú lài?\r Juān shēn qì zhōngyě, wū yuān zuò huàn hài.\r Qǐ ruò xióngjié shì, gōngmíng cóngcǐ dà!"""@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 , ; wdt:P462 , , , , , , , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Gas (气)" ; write:description "This Calli-Writing Unit consists of the large character Qi 氣 (Gas) written in traditional form in 3D graffiti style. This character is the tag of the artist: the choice of this character is related to the importance that this word/concept has in Chinese culture. Literally meaning \"vapor\", \"air\", or \"breath\", the word Qi is often translated as \"vital energy\", \"vital force\", \"material energy\", or simply as \"energy\" because it is believed to be a vital force forming part of any living entity. In the traditional Chinese concept, qi is recognized as da qi 大氣 (great energy or energy of the macrocosm) and xi qi 吸氣 (breath). Originally, the da qi would have descended, giving birth to the earth; so the rain is understood as the \"qi of the earth\", which, becoming rarefied, would have risen, giving birth to the heaven. The human being, who is between heaven and earth, has both manifestations of da qi: the heavier one forms the body, the lighter one forms the heart. The idea of qi is also connected to another fundamental traditional Chinese concept, that of xing 行 (phase, process). The concept of the wu xing 五行 (five elements, more precisely defined as \"the five processes\") describes nature as the set of the five elements that compose it (fire, water, metal, wood and earth) and as a consequence of the relationships that occur between them. Referring to these two fundamental concepts of Chinese culture (qi and xing), the artist highlights, in the choice of his very name, how his will is to instill oriental \"breath\" in his art. The piece has a thick white outline. Every stroke has various layers of colors from dark to light blue, from dark to light purple, from dark to light brown and from dark to light green. The character has two backgrounds: the first is a grey \"bubble-cloud\", the second is a black wall. This character seems to reproduce a calligraphic seal of contemporary times: like a traditional seal, it is the sign of the artist, and it is characterized by angular strokes."@en ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 1 ; write:transcriptionAndTranslation "vapor, air, breath, gas; vital energy, vital force, material energy, energy"@en, "气"@zh, "氣"@zh, "qì"@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P1412 ; wdt:P19 ; wdt:P20 ; wdt:P21 ; wdt:P2561 "Tsang Tsou-choi 曾灶财" ; wdt:P27 ; wdt:P569 "1921-11-12"^^xsd:date ; wdt:P570 "2007-06-15"^^xsd:date ; wdt:P742 "King of Kowloon / Emperor of Kowloon (九龙皇帝)"@en, "九龙皇帝"@zh-Latn ; wdt:P937 ; write:description """Tsang Tsou-chou (曾灶财), better known as the King of Kowloon (Jiulong huangdi 九龙皇帝), was a Hong Kong citizen known for his calligraphy graffiti. He was arrested for his graffiti several times, but the police usually just gave him a warning or a small fine. The graffiti has been spotted at many places on the streets of Hong Kong, ranging from lampposts, utility boxes, pillars, pavements, street furniture, and building walls, to an occasional car. His family disowned him, saying he was mentally unbalanced and a public nuisance.\r The content ofTsang Tsou-chou calligraphic graffiti includes his name, his title (Emperor or King of Kowloon, Hong Kong, or China), his family tree (a variable list of about 20 individuals), the names of illustrious emperors, and the exclamation "Down with the Queen of England!\""""@en ; write:hasCalligraphicTraining "Not present"@en ; write:hasWikidataResource ; write:isDesignerOf . a write:DecorativeAndAppliedArt ; wdt:P1071 ; wdt:P1476 """Clothes William Tang fashion show\r """@en ; wdt:P186 , ; wdt:P287 ; wdt:P462 , ; wdt:P571 "1997"^^xsd:gYear ; wdt:P88 ; write:description """Designer William Tang Tat-chi used the writing of Tsang Tsou-choi 曾灶财 during the 1997 fashion week – the last under the British administration – to decorate clothes. His whole show was a homage to the King of Kowloon.\r \r "The reputation of the King of Kowloon gathered momentum through the handover year, as Britain prepared to divest itself of its last remaining colony. For 1997 fashion week – the last under the British administration – designer William Tang Tat-chi made his whole show a homage to the King of Kowloon. The collection was cool and quirky, with each piece covered with the King’s characteristic calligraphy. The pièce de résistance was a concrete-coloured, graffiti-covered asymmetric one-shoulder gown with a 20-metre train – Tang said he had found the fabric so beautiful that he couldn’t bring himself to cut it." (Louisa Lim, The Guardian, 23/06/2022)"""@en ; write:hasSeal false ; write:madeUsingTool . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "William Tang Tat-Chi 鄧達智" ; wdt:P569 "1959"^^xsd:gYear ; wdt:P812 ; wdt:P937 ; write:description "William Tang Tat-chi is a Hong Kong fashion designer. He studied fashion at London College of Fashion, and established his own brand in 1985. William Tang was one of the first non-mainland designers to show in China in the 1980s and has designed uniforms for airlines including Dragonair."@en ; write:hasCalligraphicTraining "Not present"@en ; write:hasWikidataResource . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Ouyang Mingqiao 欧阳铭桥" ; wdt:P27 ; wdt:P453 ; wdt:P569 "1988-09-12"^^xsd:date ; wdt:P812 ; wdt:P937 ; write:description "Ouyang Minqiao graduated in \"Folk music performance\" at the \"School of Music of Minzu - University of China. He is a erhu player and he has been playing since he was 4 years old. At the age of 9 he had already managed to play his first piece of music. He is now a music professor in Dongguan."@en ; write:hasCalligraphicTraining "Not present"@en . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P21 ; wdt:P2561 "Wang Kexun 王可逊" ; wdt:P27 ; wdt:P453 ; wdt:P812 ; wdt:P937 ; write:description "He is a guqin player. He took part with Pu Lieping in the performance of 2017 entitled \"Understanding the Twelve Beauty of Jinling\" (领悟金陵十二金钗)."@en ; write:hasCalligraphicTraining "Not present"@en . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P21 ; wdt:P2561 "Liu Hanchao 刘汉超 " ; wdt:P27 ; wdt:P453 ; wdt:P812 ; wdt:P937 ; write:description "He is a flautist. He took part with Pu Lieping in the performance of 2017 entitled \"Understanding the Twelve Beauty of Jinling\" (领悟金陵十二金钗)."@en ; write:hasCalligraphicTraining "Not present"@en . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Hard Stone (磐)" ; write:description "This CWU is part of the work \"Hard Stone\" (Pan 磐) by Tong Yang-Tze. The character is realized in black ink in a cursive script."@en ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 1 ; write:transcriptionAndTranslation "hard stone"@en, "磐"@zh, "pán"@zh-Latn . a wd:Q215627 ; wdt:P103 , ; wdt:P106 ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Sainkho Namtchylak" ; wdt:P27 ; wdt:P453 ; wdt:P569 "1957"^^xsd:gYear ; wdt:P812 ; wdt:P937 , , ; write:description "Sainkho Namtchylak is a singer originally from Tuva, an autonomous republic in the Russian Federation just north of Mongolia. She is known for her Tuvan throat singing[1] or Khöömei.Namtchylak is an experimental singer, born in 1957 in a secluded village in the south of Tuva. She is proficient in overtone singing; her music encompasses avant-jazz, electronica, modern composition and Tuvan influences. In Tuva, numerous cultural influences collide: the Turkic roots and culture it shares with Central Asian states, the Xinjiang Uyghur Autonomous Region, Bashkortostan and Tatarstan; the strong Mongolic cultural influence and traditions it shares with Mongolia, Inner Mongolia, Buryatia and Kalmykia; the cultural influences from the various Siberian nomadic ethnic groups such as Samoyeds, Yeniseians, Evenks and from the Russian Old Believers, the migrant and resettled populations from Ukraine, Tatarstan and other minority groups west of the Urals. All of these, to extents, impact on Namtchylak's voice, although the Siberian influences dominate: her thesis produced while studying voice, first at the University of Kyzyl, then in the Gnesins Institute in Moscow during the 1980s focussed on Lamaistic and cult musics of minority groups across Siberia, and her music frequently shows tendencies towards Tungus-style imitative singing."@en ; write:hasCalligraphicTraining "Not present"@en . a wd:Q7725634 ; wdt:P1476 "A Song of Dagger-dancing to a Girl-pupil of Lady Gongsun (《观公孙大娘弟子舞剑器行》)"@en, "观公孙大娘弟子舞剑器行"@zh, "Guān Gōngsūn Dàniáng dìzǐ wǔ jiàn qì xíng"@zh-Latn ; wdt:P50 ; wdt:P571 "0764"^^xsd:gYear ; write:description """"A Song of Dagger-dancing to a Girl-pupil of Lady Gongsun", also known as "Watching Gongsun Daniang’s Students perform Sword Dance" (Guān gōngsūn dàniáng dìzǐ wǔ jiàn qì xíng 观公孙大娘弟子舞剑器行), is a poem written by Du Fu 杜甫 (712–770). This poem was inspired by a performance Du Fu witnessed in 767, given by a group of disciples of Gongsun Daniang 公孙大娘, a famous sword dancer during the Tang dynasty. \r The poet reminisces about first seeing the sword-whirling Lady Gongsun in his youth, when he was 27 years old (in the year 739). In the preface to the poem, Du Fu mentions the calligrapher Zhang Xu 张旭 (active ca. 700-750), whose skill in cursive script significantly improved after observing Gongsun Daniang's performances of sword dance. \r Du Fu’s poem was widely disseminated through handwritten copies, printed versions, and illustrated prints. It established a strong correlation between (sword) dance, calligraphy (particularly the cursive script), and performance art from at least the eighth century onward. \r \r """@en ; write:hasWikidataResource ; write:transcriptionAndTranslation """(preface)\r On the 19th of the Tenth-month in the second year of Dali, I saw, in the house of the Kueifu official Yuante, a girl named Li from Lingying dancing with a dagger. I admired her skill and asked who was her teacher. She named Lady Gongsun. I remembered that in the third year of Kaiyuan at Yancheng, when I was a little boy, I saw Lady Gongsun dance. She was the only one in the Imperial Theatre who could dance with this weapon. Now she is aged and unknown, and even her pupil has passed the heyday of beauty. I wrote this poem to express my wistfulness. The work of Zhang Xu, a native from the Wu district, as good at cursive calligraphyas good at cursive calligraphy. He often mentioned Mrs. Gongsun dancing with swords in Ye County. From then on, his cursive writing improved and he became bold and grateful. From this may be judged the art of Gongsun. \r \r (poem)\r There lived years ago the beautiful Gongsun, \r Who, dancing with her dagger, drew from all four quarters \r An audience like mountains lost among themselves. \r Heaven and earth moved back and forth, following her motions, \r Which were bright as when the Archer shot the nine suns down the sky \r And rapid as angels before the wings of dragons. \r She began like a thunderbolt, venting its anger, \r And ended like the shining calm of rivers and the sea.... \r But vanished are those red lips and those pearly sleeves; \r And none but this one pupil bears the perfume of her fame, \r This beauty from Lingying, at the Town of the White God, \r Dancing still and singing in the old blithe way. \r And while we reply to each other's questions, \r We sigh together, saddened by changes that have come. \r There were eight thousand ladies in the late Emperor's court, \r But none could dance the dagger-dance like Lady Gongsun. \r Fifty years have passed, like the turning of a palm; \r Wind and dust, filling the world, obscure the Imperial House. \r Instead of the Pear-Garden Players, who have blown by like a mist, \r There are one or two girl-musicians now-trying to charm the cold Sun. \r There are man-size trees by the Emperor's Golden Tomb \r I seem to hear dead grasses rattling on the cliffs of Qutang. \r The song is done, the slow string and quick pipe have ceased. \r At the height of joy, sorrow comes with the eastern moon rising. \r And I, a poor old man, not knowing where to go, \r Must harden my feet on the lone hills, toward sickness and despair. \r (http://www.shigeku.com/xlib/lingshidao/hanshi/dufu.htm)"""@en, """(preface)\r 大历二年十月十九日，夔府别驾元持宅，见临颍李十二娘舞剑器，壮其蔚跂，问其所师，曰：“余公孙大娘弟子也。” 开元五载，余尚童稚，记于郾城观公孙氏，舞剑器浑脱，浏漓顿挫，独出冠时，自高头宜春梨园二伎坊内人洎外供奉舞女，晓是舞者，圣文神武皇帝初，公孙一人而已。玉貌锦衣，况余白首，今兹弟子，亦非盛颜。既辨其由来，知波澜莫二，抚事慷慨，聊为《剑器行》。\r 昔者吴人张旭，善草书帖，数常于邺县见公孙大娘舞西河剑器，自此草书长进，豪荡感激，即公孙可知矣。\r \r (poem)\r 昔有佳人公孙氏，一舞剑器动四方。\r 观者如山色沮丧，天地为之久低昂。\r 霍如羿射九日落，矫如群帝骖龙翔。\r 来如雷霆收震怒，罢如江海凝清光。\r 绛唇珠袖两寂寞，晚有弟子传芬芳。\r 临颍美人在白帝，妙舞此曲神扬扬。\r 与余问答既有以，感时抚事增惋伤。\r 先帝侍女八千人，公孙剑器初第一。\r 五十年间似反掌，风尘倾动昏王室。\r 梨园弟子散如烟，女乐余姿映寒日。\r 金粟堆前木已拱，瞿唐石城草萧瑟。"""@zh, """(preface)\r 大曆二年十月十九日，夔府別駕元持宅，見臨潁李十二孃舞劍器，壯其蔚跂，問其所師，曰：“餘公孫大娘弟子也。” 開元五載，餘尚童稚，記於郾城觀公孫氏，舞劍器渾脫，瀏漓頓挫，獨出冠時，自高頭宜春梨園二伎坊內人洎外供奉舞女，曉是舞者，聖文神武皇帝初，公孫一人而已。玉貌錦衣，況餘白首，今茲弟子，亦非盛顏。既辨其由來，知波瀾莫二，撫事慷慨，聊爲《劍器行》。\r 昔者吳人張旭，善草書帖，數常於鄴縣見公孫大娘舞西河劍器，自此草書長進，豪蕩感激，即公孫可知矣。\r \r (poem)\r 昔有佳人公孫氏，一舞劍器動四方。\r 觀者如山色沮喪，天地為之久低昂。\r 霍如羿射九日落，矯如群帝驂龍翔。\r 來如雷霆收震怒，罷如江海凝清光。\r 絳唇珠袖兩寂寞，晚有弟子傳芬芳。\r 臨潁美人在白帝，妙舞此曲神揚揚。\r 與余問答既有以，感時撫事增惋傷。\r 先帝侍女八千人，公孫劍器初第一。\r 五十年間似反掌，風塵傾動昏王室。\r 梨園弟子散如煙，女樂余姿映寒日。\r 金粟堆前木已拱，瞿唐石城草蕭瑟。\r 玳筵急管曲復終，樂極哀來月東出。\r 老夫不知其所往，足繭荒山轉愁疾。\r """@zh, """(preface) \r Dà lì èr nián shí yuè shíjiǔ rì, kuí fǔ bié jià yuán chí zhái, jiàn lín yǐng lǐ shí'èr niáng wǔ jiàn qì, zhuàng qí wèi qí, wèn qí suǒ shī, yuē:“Yú gōngsūn dàniáng dìzǐ yě.” Kāiyuán wǔ zǎi, yú shàng tóng zhì, jì yú yǎn chéng guān gōngsūn shì, wǔ jiàn qì hún tuō, liú lí dùncuò, dú chū guān shí, zì gāo tóu yíchūn líyuán èr jì fāng nèi rén jì wài gòngfèng wǔnǚ, xiǎo shì wǔ zhě, shèng wén shén c wǔ huángdì chū, gōngsūn yīrén éryǐ. Yù mào jǐnyī, kuàng yú bái shǒu, jīn zī dìzǐ, yì fēi shèng yán. Jì biàn qí yóulái, zhī bōlán mò èr, fǔ shì kāngkǎi, liáo wèi “jiàn qì xíng”. Xī zhě wú rén zhāng xù, shàn cǎoshū tiē, shù cháng yú yè xiàn jiàn gōngsūn dàniáng wǔ xīhé jiàn qì, zì cǐ cǎoshū zhǎngjìn, háo dàng gǎnjī, jí gōngsūn kězhī yǐ. \r \r (Poem) \r Xī yǒu jiārén gōngsūn shì, yī wǔ jiàn qì dòng sìfāng. \r Guān zhě rúshān sè jǔsàng, tiāndì wéi zhī jiǔ dī áng. \r Huò rú yì shè jiǔ rìluò, jiǎo rú qún dì cān lóng xiáng. \r Lái rú léitíng shōu zhènnù, bà rú jiānghǎi níng qīngguāng. \r Jiàng chún zhū xiù liǎng jìmò, wǎn yǒu dìzǐ chuán fēnfāng. \r Lín yǐng měirén zài bái dì, miào wǔ cǐ qū shén yángyáng. \r Yǔ yú wèndá jì yǒu yǐ, gǎn shí fǔ shì zēng wàn shāng. \r Xiāndì shìnǚ bāqiān rén, gōngsūn jiàn qì chū dì yī. \r Wǔshí niánjiān shì fǎn zhǎng, fēngchén qīngdòng hūn wángshì. \r Líyuán dìzǐ sàn rú yān, nǚ lè yú zī yìng hán rì. \r Jīn sù duī qián mù yǐ gǒng, qú táng shíchéng cǎo xiāosè. \r Dài yán jí guǎn qū fù zhōng, lè jí āi lái yuè dōng chū. \r Lǎofū bùzhī qí suǒ wǎng, zú jiǎn huāngshān zhuǎn chóu jí."""@zh-Latn . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Exhibition of Wang Dongling's calligraphy (王冬龄书法展; 1987)"@en, "王冬龄书法展"@zh, "Wáng Dōnglíng shūfǎ zhǎn"@zh-Latn ; wdt:P276 , ; wdt:P580 "1987-08"^^xsd:gYearMonth ; wdt:P582 "1987-08"^^xsd:gYearMonth ; wdt:P664 ; write:description "Exhibition of Wang Dongling's calligraphy (王冬龄书法展) was held at the National Art Museum of China in Beijing in 1987. It represents Wang Dongling's first Solo Exhibition and the first milestone in his artistic career."@en ; write:exhibitedArtwork . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , , ; wdt:P282 ; wdt:P407 ; wdt:P462 , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Drinking by the Lake: Clear Sky ad First, then Rain (《饮湖上初晴后雨》)" ; write:description """In the white space around the red iconic Apple logo of Hangzhou West Lake Apple Store, opened in 2015, Wang Dongling wrote the poem "Drinking on West Lake First Shine After the Rain" (Yin hu shang chu qing hou yu 饮湖上初晴后雨) by Su Shi 苏轼 (1037-1101), better known as Su Dongpo 苏东坡, an eminent poet of the Song dynasty (960-1279). The poem is a seven-character quatrain in eight lines. Wang wrote in cursive script (cao shu 草书) the last two lines of the poem, for a total of 28 characters. It praises the beauty of West Lake (Xihu 西湖), one of the most celebrated scenic spots in China. Here, West Lake is compared to Xi Shi 西施, one of the “Four Great Beauties” (Si da meinü 四大美女) of ancient China, women renowned for their legendary beauty. These lines have been widely circulated and are often considered to be an appropriate comment on West Lake. \r The big calligraphy stretches across a wall measuring 15 m. high x 33 m. wide. The colophon on the left side of the composition indicates the place of realization and records the names of the poet and the artist: "Poem by Su Dongpo, [written by] Wang Dongling in Hangzhou" (Su Dongpo shi Wang Dongling yu Hangzhou 苏东坡诗王冬龄於杭州). At the end of the colophon, the artist’s seal is applied. The artist's seal includes his surname, name, and the character for 'seal' (Wang Dongling yin 王冬齡印).\r """@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image , ; write:isUnitOf ; write:numberOfCharacters 28 ; write:transcriptionAndTranslation """Shimmering water on sunny days\r Blurred mountains through rainy haze\r West Lake is like the beauty, Xizi\r With light or heavy makeup, always beautiful.\r (trans. adapted from the promotional video)"""@en, """The brimming waves delight the eyes in sunny days;\r The dimming hills present rare view in rainy haze.\r West Lake may be compared to Beauty of the West,\r Whether she is richly adorned or plainly dressed.\r (trans. by Xu Yuanchong)"""@en, """水光潇滟晴方好，\r 山色空蒙雨亦奇。\r 欲把西湖比西子，\r 淡妆浓抹总相宜。"""@zh, """水光瀟灩晴方好，\r 山色空濛雨亦奇。\r 欲把西湖比西子，\r 淡妝濃抹總相宜。"""@zh, """Shuǐ guāng liàn yàn qíng fāng hǎo,\r shān sè kōng méng yǔ yì qí.\r Yù bǎ xīhú bǐ xī zi,\r dànzhuāng nóng mǒ zǒng xiāngyí."""@zh-Latn ; write:vectorisedOrDigitised true . a wd:Q7725634 ; wdt:P1476 "Drinking by the Lake: Clear Sky at First, Then Rain (饮湖上初晴后雨)"@en, "饮湖上初晴后雨"@zh, "Yǐn húshàng chū qíng hòu yǔ"@zh-Latn ; wdt:P1480 ; wdt:P50 ; wdt:P571 "1073"^^xsd:gYear ; write:description """The poem “Drinking by the Lake: Clear Sky at First, Then Rain” (Yin hu shang chu qing hou yu 饮湖上初晴后雨) is a celebrated seven-character quatrain by Su Shi 苏轼 (1037-1101), better knwon as Su Dongpo 苏东坡, an eminent poet and calligrapher of the Song dynasty (960 -1279). The poem praises the picturesque beauty of West Lake, one of the most famous scenic spots in China, through a subtle analogy to the rare beauty of Xi Shi 西施, one of the "Four Great Beauties" (Si da meinü 四大美女) of ancient China. \r Su Shi wrote two related poems with the same title. Both of them praise the beauty of West Lake and were written during the poet’s tenure as Prefect of Hangzhou. The first poem is about the poet welcoming his guests in the morning sun and drinking with them in the evening rain, indulging in the rainy scenery of West Lake. The second poem - the one quoted here, offers a more comprehensive description of the diversity and beauty of West Lake's scenery. """@en ; write:hasWikidataResource ; write:transcriptionAndTranslation """The brimming waves delight the eye on sunny days;\r The dimming hills give a rare view in rainy haze.\r The West Lake looks like the fair lady at her best;\r Whether she is richly adorned or plainly dressed.\r (translation by Xu Yuanchong)"""@en, """水光潋灧晴方好，\r 山色空蒙雨亦奇。\r 欲把西湖比西子，\r 淡妆浓抹总相宜。"""@zh, """水光瀲灧晴方好，\r 山色空濛雨亦奇。\r 欲把西湖比西子，\r 淡粧濃抹總相宜。"""@zh, """Shuǐ guāng liàn yàn qíng fāng hǎo,\r shān sè kōng méng yǔ yì qí.\r Yù bǎ xīhú bǐ xī zi,\r dànzhuāng nóng mǒ zǒng xiāngyí"""@zh-Latn . a wd:Q7725634 ; wdt:P1476 "Byōdō-in Temple (平等院)"@en, " 平等院 "@zh, "Píngděng yuàn"@zh-Latn ; wdt:P50 ; write:description "In this poem, composed by Zhao Puchu 赵朴初 (1907-2000), the poet describes the ecstatic sensation while contemplating the sublime beauty of the most beautiful building in the temple, the \"Phoenix Hall\" (Fenghuang Tang 凤凰堂), built about a thousand years before. He compares its solemn beauty to the literary peaks reached during the period of full literary grandeur in the Tang dynasty (618-907). In the poet’s vision, Buddhism overloaded those peaks, because the \"divine breath added something that goes beyond what human nature requires\" (shengongyijiang 神工意匠)."@en ; write:transcriptionAndTranslation """Gasp in awe,\r Like never before,\r In front of the Phoenix Hall,\r One look\r And I am back to a thousand years ago.\r Buddhism\r Alone\r Equates the Tang’s glow,\r And passes on\r The sublime beauty of the divine.\r (Translator: A. Iezzi)"""@en, """Sospirare,\r come mai nella vita,\r di fronte al Padiglione della Fenice,\r ritrovarsi d’improvviso\r mille anni orsono.\r Il Buddhismo\r solo\r equipara i Tang nel bagliore,\r istillandovi postilla\r la bellezza sublime del divino.\r (Translator: A. Iezzi)"""@it, """叹观止，\r 凤凰堂，\r 置身恍在千年上。\r 岂只是象教庄严继盛唐?\r 更别有\r 神工意匠。"""@zh, """Tàn guānzhǐ, \r fènghuáng táng, \r zhìshēn huǎng zài qiānnián shàng. \r Qǐ zhǐshì xiàng jiào zhuāngyán jì shèng Táng? \r Gèng bié yǒu \r shén gōng yìjiàng."""@zh-Latn . a wd:Q1400264 ; wdt:P2561 "Chantry Dance Company" ; wdt:P276 ; wdt:P453 ; wdt:P571 "2012-05"^^xsd:gYearMonth ; write:description """Chantry Dance was formed in May 2012 by co-Artistic Directors and choreographers Paul Chantry and Rae Piper. The company's first performance was in 2012 on the main stage at Sadler's Wells as part of the Chinese Calligraphy, Music and Dance Concert, and televised to mainland China. In 2013 Chantry Dance re-located from London to Grantham, East Midlands. From this base, the company has created a varied body of work which has included themic and abstract short pieces, full-length narrative ballets, touring shows, site-specific works, outdoor shows and films. The Chantry Dance Company explores how contemporary dance bears witness to the joys, passions and pains of humankind. The Company highlights dance as a liberating art, bringing freedom of body and mind to performers, participants and audience, and promote the understanding of and participation in Contemporary Dance. The company reveals the meaningful impact that dance can have - how it can effect joy, reflection, hope, and change.\r The company is composed of five dancers in total: 2 British, 1 Italian, 1 Spanish, 1 Portuguese, respectevely Rae Piper, Louis McMiller, Alessia Lugoboni, Melanie Lopez, Catarina Carvalho.""" ; write:hasArtisticCollectiveType . a wd:Q7725634 ; wdt:P1476 "Rouged Lips (点绛唇 )"@en, "点绛唇 "@zh, "Diǎn jiàng chún"@zh-Latn ; wdt:P50 ; write:description "This poem was composed by Wang Yucheng 王禹偁 (954-1001), a famous poet/scholar of the Song dynasty (960-1279), during his exile in the South of the Empire. In this poem, he expresses his inner emotions through a rich imaginary that allows him to skillfully establish similarities with nature. Empathy with nature, pain for an unjust exile, pervasive loneliness, and idyllic scenes are the central themes of the poem. These themes are recurrent in Chinese poetry of all times."@en ; write:transcriptionAndTranslation """Laden with frowning cloud and steeped in tearful rain,\r The southern shores still beautiful remain.\r In riverside village flanked with fishermen’s fair,\r A lonely wreath of slender smoke wafts in the air.\r Afar a row of wild geese fly,\r Weaving a letter in the sky.\r What have I done in days gone by?\r Gazing from the balustrade,\r Could I weave my way as far as they?\r (Translator: Xu Yuanchong)"""@en, """Pioggia di risentimento, nuvole d’ansia,\r e la beltà imperitura del paesaggio.\r Sulle rive del fiume Azzurro\r mercanti pescatori,\r e di fumo\r un filamento\r dai fumaiuoli.\r All’orizzonte oche selvatiche,\r sedule a un lungo vagare,\r di lontano librarsi in volo\r come punti cuciti a ricamare.\r Un momento in una vita\r di labor contrita\r rimaner fissi a rimirare.\r Chi comprender un uomo può\r nel suo sentire\r gravato\r su una balaustra\r lo sguardo\r a di lontano gettar?\r (Translator: A. Iezzi)"""@it, """雨恨云愁，\r 江南依旧称佳丽。\r 水村渔市，\r 一缕孤烟细。\r 天际征鸿，\r 遥认行如缀。\r 平生事，\r 此时凝睇，\r 谁会凭栏意!"""@zh, """Yǔ hèn yún chóu,\r jiāngnán yījiù chēng jiālì. \r Shuǐcūn yú shì, \r yī lǚ gū yān xì.\r Tiānjì zhēng hóng, \r yáo rèn háng rú zhuì. \r Píngshēng shì, \r cǐ shí níng dì, \r shéi huì pínglán yì!"""@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , ; wdt:P186 , ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU Brush Array (lines)" ; write:description "This CWU is composed of abstract calligraphic lines. The artist uses several bold brushstrockes spattered with ink dots, leaving little white space is left at the intersections of the lines. The dynamic tension between ink and empty space creates a sense of movement and energy. This interplay evokes the expressive potential of calligraphy beyond recognizable characters, focusing instead on pure gestural expression."@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; sch:image ; write:isUnitOf ; write:madeUsingTool . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "China: 5,000 Years, Innovation and Transformation in the Arts"@en ; wdt:P276 , ; wdt:P580 "1998"^^xsd:gYear ; wdt:P582 "1998"^^xsd:gYear ; write:description "The exhibition \"China: 5,000 Years – Innovation and Transformation in the Arts\" opened at the Solomon R. Guggenheim Museum in 1998. It explored the evolution of Chinese art over five millennia, from Neolithic jades of the third millennium BCE to works from the modern era, highlighting themes of innovation and transformation throughout China's artistic history."@en ; write:exhibitedArtwork . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Wandering Beyond: I (《庄子·逍遥游》 ) " ; write:description """This CWU consists of the text of Wandering Beyond (Xiaoyao you 逍遥游), the first of the “inner chapter" (neipian 内篇) of Zhuangzi (庄子).\r """@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 1772 ; write:transcriptionAndTranslation """ In the Northern Ocean there is a fish, the name of which is Kun - I do not know how many li in size. It changes into a bird with the name of Peng, the back of which is (also) - I do not know how many li in extent. When this bird rouses itself and flies, its wings are like clouds all round the sky. When the sea is moved (so as to bear it along), it prepares to remove to the Southern Ocean. The Southern Ocean is the Pool of Heaven.\r There is the (book called) Qi Xie, a record of marvels. We have in it these words: 'When the peng is removing to the Southern Ocean it flaps (its wings) on the water for 3000 li. Then it ascends on a whirlwind 90,000 li, and it rests only at the end of six months.' (But similar to this is the movement of the breezes which we call) the horses of the fields, of the dust (which quivers in the sunbeams), and of living things as they are blown against one another by the air. Is its azure the proper colour of the sky? Or is it occasioned by its distance and illimitable extent? If one were looking down (from above), the very same appearance would just meet his view.\r And moreover, (to speak of) the accumulation of water; if it be not great, it will not have strength to support a large boat. Upset a cup of water in a cavity, and a straw will float on it as if it were a boat. Place a cup in it, and it will stick fast; the water is shallow and the boat is large. (So it is with) the accumulation of wind; if it be not great, it will not have strength to support great wings. Therefore (the peng ascended to) the height of 90,000 li, and there was such a mass of wind beneath it; thenceforth the accumulation of wind was sufficient. As it seemed to bear the blue sky on its back, and there was nothing to obstruct or arrest its course, it could pursue its way to the South.\r A cicada and a little dove laughed at it, saying, 'We make an effort and fly towards an elm or sapanwood tree; and sometimes before we reach it, we can do no more but drop to the ground. Of what use is it for this (creature) to rise 90,000 li, and make for the South?' He who goes to the grassy suburbs, returning to the third meal (of the day), will have his belly as full as when he set out; he who goes to a distance of 100 li will have to pound his grain where he stops for the night; he who goes a thousand li, will have to carry with him provisions for three months. What should these two small creatures know about the matter? The knowledge of that which is small does not reach to that which is great; (the experience of) a few years does not reach to that of many. How do we know that it is so? The mushroom of a morning does not know (what takes place between) the beginning and end of a month; the short-lived cicada does not know (what takes place between) the spring and autumn. These are instances of a short term of life. In the south of Chu there is the (tree) called Ming-ling, whose spring is 500 years, and its autumn the same; in high antiquity there was that called Da-chun, whose spring was 8000 years, and its autumn the same. And Peng Zu is the one man renowned to the present day for his length of life: if all men were (to wish) to match him, would they not be miserable?\r \r n the questions put by Tang to Ji we have similar statements: 'In the bare and barren north there is the dark and vast ocean - the Pool of Heaven. In it there is a fish, several thousand li in breadth, while no one knows its length. Its name is the kun. There is (also) a bird named the peng; its back is like the Tai mountain, while its wings are like clouds all round the sky. On a whirlwind it mounts upwards as on the whorls of a goat's horn for 90,000 li, till, far removed from the cloudy vapours, it bears on its back the blue sky, and then it shapes its course for the South, and proceeds to the ocean there.' A quail by the side of a marsh laughed at it, and said, 'Where is it going to? I spring up with a bound, and come down again when I have reached but a few fathoms, and then fly about among the brushwood and bushes; and this is the perfection of flying. Where is that creature going to?' This shows the difference between the small and the great.\r \r Thus it is that men, whose wisdom is sufficient for the duties of some one office, or whose conduct will secure harmony in some one district, or whose virtue is befitting a ruler so that they could efficiently govern some one state, are sure to look on themselves in this manner (like the quail), and yet Rongzi of Song would have smiled and laughed at them. (This Rongzi), though the whole world should have praised him, would not for that have stimulated himself to greater endeavour, and though the whole world should have condemned him, would not have exercised any more repression of his course; so fixed was he in the difference between the internal (judgment of himself) and the external (judgment of others), so distinctly had he marked out the bounding limit of glory and disgrace. Here, however, he stopped. His place in the world indeed had become indifferent to him, but still he had not planted himself firmly (in the right position). There was Liezi, who rode on the wind and pursued his way, with an admirable indifference (to all external things), returning, however, after fifteen days, (to his place). In regard to the things that (are supposed to) contribute to happiness, he was free from all endeavours to obtain them; but though he had not to walk, there was still something for which he had to wait. But suppose one who mounts on (the ether of) heaven and earth in its normal operation, and drives along the six elemental energies of the changing (seasons), thus enjoying himself in the illimitable - what has he to wait for? Therefore it is said, 'The Perfect man has no (thought of) self; the Spirit-like man, none of merit; the Sagely-minded man, none of fame.'\r \r Yao, proposing to resign the throne to Xu You, said, 'When the sun and moon have come forth, if the torches have not been put out, would it not be difficult for them to give light? When the seasonal rains are coming down, if we still keep watering the ground, will not our toil be labour lost for all the good it will do? Do you, Master, stand forth (as sovereign), and the kingdom will (at once) be well governed. If I still (continue to) preside over it, I must look on myself as vainly occupying the place - I beg to resign the throne to you.' Xu You said, 'You, Sir, govern the kingdom, and the kingdom is well governed. If I in these circumstances take your place, shall I not be doing so for the sake of the name? But the name is but the guest of the reality; shall I be playing the part of the guest? The tailor-bird makes its nest in the deep forest, but only uses a single branch; the mole drinks from the He, but only takes what fills its belly. Return and rest in being ruler - I will have nothing to do with the throne. Though the cook were not attending to his kitchen, the representative of the dead and the officer of prayer would not leave their cups and stands to take his place.'\r \r Jian Wu asked Lian Shu, saying, 'I heard Jie Yu talking words which were great, but had nothing corresponding to them (in reality); once gone, they could not be brought back. I was frightened by them; they were like the Milky Way which cannot be traced to its beginning or end. They had no connexion with one another, and were not akin to the experiences of men.' 'What were his words?' asked Lian Shu, and the other replied, (He said) that 'Far away on the hill of Gu Ye there dwelt a Spirit-like man whose flesh and skin were (smooth) as ice and (white) as snow; that his manner was elegant and delicate as that of a virgin; that he did not eat any of the five grains, but inhaled the wind and drank the dew; that he mounted on the clouds, drove along the flying dragons, rambling and enjoying himself beyond the four seas; that by the concentration of his spirit-like powers he could save men from disease and pestilence, and secure every year a plentiful harvest.' These words appeared to me wild and incoherent and I did not believe them. 'So it is,' said Lian Shu. 'The blind have no perception of the beauty of elegant figures, nor the deaf of the sound of bells and drums. But is it only the bodily senses of which deafness and blindness can be predicated? There is also a similar defect in the intelligence; and of this your words supply an illustration in yourself. That man, with those attributes, though all things were one mass of confusion, and he heard in that condition the whole world crying out to him to be rectified, would not have to address himself laboriously to the task, as if it were his business to rectify the world. Nothing could hurt that man; the greatest floods, reaching to the sky, could not drown him, nor would he feel the fervour of the greatest heats melting metals and stones till they flowed, and scorching all the ground and hills. From the dust and chaff of himself, he could still mould and fashion Yaos and Shuns - how should he be willing to occupy himself with things?' A man of Song, who dealt in the ceremonial caps (of Yin), went with them to Yue, the people of which cut off their hair and tattooed their bodies, so that they had no use for them. Yao ruled the people of the kingdom, and maintained a perfect government within the four seas. Having gone to see the four (Perfect) Ones on the distant hill of Gu Ye, when (he returned to his capital) on the south of the Fen water, his throne appeared no more to his deep-sunk oblivious eyes.\r \r Huizi told Zhuangzi, saying, 'The king of Wei sent me some seeds of a large calabash, which I sowed. The fruit, when fully grown, could contain five piculs (of anything). I used it to contain water, but it was so heavy that I could not lift it by myself. I cut it in two to make the parts into drinking vessels; but the dried shells were too wide and unstable and would not hold (the liquor); nothing but large useless things! Because of their uselessness I knocked them to pieces.' Zhuangzi replied, 'You were indeed stupid, my master, in the use of what was large. There was a man of Song who was skilful at making a salve which kept the hands from getting chapped; and (his family) for generations had made the bleaching of cocoon-silk their business. A stranger heard of it, and proposed to buy the art of the preparation for a hundred ounces of silver. The kindred all came together, and considered the proposal. "We have," said they, "been bleaching cocoon-silk for generations, and have only gained a little money. Now in one morning we can sell to this man our art for a hundred ounces - let him have it." The stranger accordingly got it and went away with it to give counsel to the king of Wu, who was then engaged in hostilities with Yue. The king gave him the command of his fleet, and in the winter he had an engagement with that of Yue, on which he inflicted a great defeat, and was invested with a portion of territory taken from Yue. The keeping the hands from getting chapped was the same in both cases; but in the one case it led to the investiture (of the possessor of the salve), and in the other it had only enabled its owners to continue their bleaching. The difference of result was owing to the different use made of the art. Now you, Sir, had calabashes large enough to hold five piculs; why did you not think of making large bottle-gourds of them, by means of which you could have floated over rivers and lakes, instead of giving yourself the sorrow of finding that they were useless for holding anything. Your mind, my master, would seem to have been closed against all intelligence!'\r \r Huizi said to Zhuangzi, 'I have a large tree, which men call the Ailantus. Its trunk swells out to a large size, but is not fit for a carpenter to apply his line to it; its smaller branches are knotted and crooked, so that the disk and square cannot be used on them. Though planted on the wayside, a builder would not turn his head to look at it. Now your words, Sir, are great, but of no use - all unite in putting them away from them.' Zhuangzi replied, 'Have you never seen a wildcat or a weasel? There it lies, crouching and low, till the wanderer approaches; east and west it leaps about, avoiding neither what is high nor what is low, till it is caught in a trap, or dies in a net. Again there is the Yak, so large that it is like a cloud hanging in the sky. It is large indeed, but it cannot catch mice. You, Sir, have a large tree and are troubled because it is of no use - why do you not plant it in a tract where there is nothing else, or in a wide and barren wild? There you might saunter idly by its side, or in the enjoyment of untroubled ease sleep beneath it. Neither bill nor axe would shorten its existence; there would be nothing to injure it. What is there in its uselessness to cause you distress?'"""@en, """北冥有魚，其名爲鯤。鯤之大，不知其幾千里也。化而爲鳥，其名爲鵬。鵬之背，不知其幾千里也；怒而飛，其翼若垂天之雲。是鳥也，海運則將徙於南冥。南冥者，天池也。《齊諧》者，志怪者也。《諧》之言曰：「鵬之徙於南冥也，水擊三千里，摶扶搖而上者九萬里，去以六月息者也。」野馬也，塵埃也，生物之以息相吹也。天之蒼蒼，其正色邪？其遠而無所至極邪？其視下也，亦若是則已矣。且夫水之積也不厚，則負大舟也無力。覆杯水於坳堂之上，則芥爲之舟；置杯焉則膠，水淺而舟大也。風之積也不厚，則其負大翼也無力。故九萬里，則風斯在下矣，而後乃今培風；背負青天而莫之夭閼者，而後乃今將圖南。\r \r 蜩與鷽鳩笑之曰：「我決起而飛，槍榆枋，時則不至，而控於地而已矣，奚以之九萬里而南爲！」適莽蒼者，三湌而反，腹猶果然；適百里者，宿舂糧；適千里者，三月聚糧。之二蟲又何知！小知不及大知，小年不及大年。奚以知其然也？朝菌不知晦朔，蟪蛄不知春秋，此小年也。楚之南有冥靈者，以五百歲爲春，五百歲爲秋；上古有大椿者，以八千歲爲春，八千歲爲秋。而彭祖乃今以久特聞，衆人匹之，不亦悲乎！\r \r 湯之問棘也是已。窮髮之北有冥海者，天池也。有魚焉，其廣數千里，未有知其脩者，其名爲鯤。有鳥焉，其名爲鵬，背若太山，翼若垂天之雲，摶扶搖羊角而上者九萬里，絕雲氣，負青天，然後圖南，且適南冥也。斥鴳笑之曰：「彼且奚適也？我騰躍而上，不過數仞而下，翱翔蓬蒿之間，此亦飛之至也。而彼且奚適也？」此小大之辯也。故夫知效一官，行比一鄉，德合一君，而徵一國者，其自視也亦若此矣。而宋榮子猶然笑之。且舉世而譽之而不加勸，舉世而非之而不加沮，定乎內外之分，辯乎榮辱之境，斯已矣。彼其於世，未數數然也。雖然，猶有未樹也。夫列子御風而行，泠然善也，旬有五日而後反。彼於致福者，未數數然也。此雖免乎行，猶有所待者也。若夫乘天地之正，而御六氣之辯，以遊無窮者，彼且惡乎待哉！故曰：至人無己，神人無功，聖人無名。\r \r 堯讓天下於許由，曰：「日月出矣而爝火不息，其於光也，不亦難乎！時雨降矣而猶浸灌，其於澤也，不亦勞乎！夫子立而天下治，而我猶屍之，吾自視缺然，請致天下。」許由曰：「子治天下，天下既已治也。而我猶代子，吾將爲名乎？名者，實之賓也。吾將爲賓乎？鷦鷯巢於深林，不過一枝；偃鼠飲河，不過滿腹。歸休乎君，予無所用天下爲！庖人雖不治庖，尸祝不越樽俎而代之矣。」\r \r 肩吾問於連叔曰：「吾聞言於接輿，大而無當，往而不反。吾驚怖其言，猶河漢而無極也，大有逕庭，不近人情焉。」連叔曰：「其言謂何哉？」曰：「『藐姑射之山，有神人居焉，肌膚若冰雪，淖約若處子。不食五穀，吸風飲露。乘雲氣，御飛龍，而遊乎四海之外。其神凝，使物不疵癘而年穀熟。』吾以是狂而不信也。」連叔曰：「然。瞽者無以與乎文章之觀，聾者無以與乎鍾鼓之聲。豈唯形骸有聾盲哉？夫知亦有之。是其言也，猶時女也。之人也，之德也，將旁礡萬物以爲一。世蘄乎亂，孰弊弊焉以天下爲事！之人也，物莫之傷，大浸稽天而不溺，大旱金石流、土山焦而不熱，是其塵垢秕穅，將猶陶鑄堯、舜者也，孰肯以物爲事！」宋人資章甫而適諸越，越人斷髮文身，無所用之。堯治天下之民，平海內之政，往見四子藐姑射之山，汾水之陽，窅然喪其天下焉。\r \r 惠子謂莊子曰：「魏王貽我大瓠之種，我樹之成而實五石。以盛水漿，其堅不能自舉也。剖之以爲瓢，則瓠落無所容。非不呺然大也，吾爲其無用而掊之。」莊子曰：「夫子固拙於用大矣。宋人有善爲不龜手之藥者，世世以洴澼絖爲事。客聞之，請買其方百金。聚族而謀曰：『我世世爲洴澼絖，不過數金；今一朝而鬻技百金，請與之。』客得之，以說吳王。越有難，吳王使之將，冬與越人水戰，大敗越人，裂地而封之。能不龜手，一也；或以封，或不免於洴澼絖，則所用之異也。今子有五石之瓠，何不慮以爲大樽而浮乎江湖，而憂其瓠落無所容？則夫子猶有蓬之心也夫！」\r \r 惠子謂莊子曰：「吾有大樹，人謂之樗。其大本擁腫而不中繩墨，其小枝捲曲而不中規矩，立之塗，匠者不顧。今子之言，大而無用，衆所同去也。」莊子曰：「子獨不見狸狌乎？卑身而伏，以候敖者；東西跳梁，不避高下；中於機辟，死於罔罟。今夫斄牛，其大若垂天之雲。此能爲大矣，而不能執鼠。今子有大樹，患其無用，何不樹之於無何有之鄉，廣莫之野，彷徨乎無爲其側，逍遙乎寢臥其下？不夭斤斧，物無害者，無所可用，安所困苦哉！」"""@zh, """北冥有鱼，其名为鲲。鲲之大，不知其几千里也。化而为鸟，其名为鹏。鹏之背，不知其几千里也；怒而飞，其翼若垂天之云。是鸟也，海运则将徙于南冥。南冥者，天池也。《齐谐》者，志怪者也。《谐》之言曰：“鹏之徙于南冥也，水击三千里，抟扶摇而上者九万里，去以六月息者也。”野马也，尘埃也，生物之以息相吹也。天之苍苍，其正色邪？其远而无所至极邪？其视下也，亦若是则已矣。且夫水之积也不厚，则负大舟也无力。覆杯水于坳堂之上，则芥为之舟；置杯焉则胶，水浅而舟大也。风之积也不厚，则其负大翼也无力。故九万里，则风斯在下矣，而后乃今培风；背负青天而莫之夭阏者，而后乃今将图南。\r \r 蜩与鸴鸠笑之曰：“我决起而飞，枪榆枋，时则不至，而控于地而已矣，奚以之九万里而南为！”适莽苍者，三湌而反，腹犹果然；适百里者，宿舂粮；适千里者，三月聚粮。之二虫又何知！小知不及大知，小年不及大年。奚以知其然也？朝菌不知晦朔，蟪蛄不知春秋，此小年也。楚之南有冥灵者，以五百岁为春，五百岁为秋；上古有大椿者，以八千岁为春，八千岁为秋。而彭祖乃今以久特闻，众人匹之，不亦悲乎！\r \r 汤之问棘也是已。穷发之北有冥海者，天池也。有鱼焉，其广数千里，未有知其修者，其名为鲲。有鸟焉，其名为鹏，背若太山，翼若垂天之云，抟扶摇羊角而上者九万里，绝云气，负青天，然后图南，且适南冥也。斥鴳笑之曰：“彼且奚适也？我腾跃而上，不过数仞而下，翱翔蓬蒿之间，此亦飞之至也。而彼且奚适也？”此小大之辩也。故夫知效一官，行比一乡，德合一君，而征一国者，其自视也亦若此矣。而宋荣子犹然笑之。且举世而誉之而不加劝，举世而非之而不加沮，定乎内外之分，辩乎荣辱之境，斯已矣。彼其于世，未数数然也。虽然，犹有未树也。夫列子御风而行，泠然善也，旬有五日而后反。彼于致福者，未数数然也。此虽免乎行，犹有所待者也。若夫乘天地之正，而御六气之辩，以游无穷者，彼且恶乎待哉！故曰：至人无己，神人无功，圣人无名。\r \r 尧让天下于许由，曰：“日月出矣而爝火不息，其于光也，不亦难乎！时雨降矣而犹浸灌，其于泽也，不亦劳乎！夫子立而天下治，而我犹尸之，吾自视缺然，请致天下。”许由曰：“子治天下，天下既已治也。而我犹代子，吾将为名乎？名者，实之宾也。吾将为宾乎？鹪鹩巢于深林，不过一枝；偃鼠饮河，不过满腹。归休乎君，予无所用天下为！庖人虽不治庖，尸祝不越樽俎而代之矣。”\r \r 肩吾问于连叔曰：“吾闻言于接舆，大而无当，往而不反。吾惊怖其言，犹河汉而无极也，大有迳庭，不近人情焉。”连叔曰：“其言谓何哉？”曰：“‘藐姑射之山，有神人居焉，肌肤若冰雪，淖约若处子。不食五谷，吸风饮露。乘云气，御飞龙，而游乎四海之外。其神凝，使物不疵疠而年谷熟。’吾以是狂而不信也。”连叔曰：“然。瞽者无以与乎文章之观，聋者无以与乎锺鼓之声。岂唯形骸有聋盲哉？夫知亦有之。是其言也，犹时女也。之人也，之德也，将旁礡万物以为一。世蕲乎乱，孰弊弊焉以天下为事！之人也，物莫之伤，大浸稽天而不溺，大旱金石流、土山焦而不热，是其尘垢秕穅，将犹陶铸尧、舜者也，孰肯以物为事！”宋人资章甫而适诸越，越人断发文身，无所用之。尧治天下之民，平海内之政，往见四子藐姑射之山，汾水之阳，窅然丧其天下焉。\r \r 惠子谓庄子曰：“魏王贻我大瓠之种，我树之成而实五石。以盛水浆，其坚不能自举也。剖之以为瓢，则瓠落无所容。非不呺然大也，吾为其无用而掊之。”庄子曰：“夫子固拙于用大矣。宋人有善为不龟手之药者，世世以洴澼絖为事。客闻之，请买其方百金。聚族而谋曰：‘我世世为洴澼絖，不过数金；今一朝而鬻技百金，请与之。’客得之，以说吴王。越有难，吴王使之将，冬与越人水战，大败越人，裂地而封之。能不龟手，一也；或以封，或不免于洴澼絖，则所用之异也。今子有五石之瓠，何不虑以为大樽而浮乎江湖，而忧其瓠落无所容？则夫子犹有蓬之心也夫！”\r \r 惠子谓庄子曰：“吾有大树，人谓之樗。其大本拥肿而不中绳墨，其小枝卷曲而不中规矩，立之涂，匠者不顾。今子之言，大而无用，众所同去也。”庄子曰：“子独不见狸狌乎？卑身而伏，以候敖者；东西跳梁，不避高下；中于机辟，死于罔罟。今夫斄牛，其大若垂天之云。此能为大矣，而不能执鼠。今子有大树，患其无用，何不树之于无何有之乡，广莫之野，彷徨乎无为其侧，逍遥乎寝卧其下？不夭斤斧，物无害者，无所可用，安所困苦哉！”"""@zh, """Běi míng yǒu yú, qí míng wèi kūn. Kūn zhī dà, bùzhī qí jǐ qiānlǐ yě. Huà ér wèi niǎo, qí míng wèi péng. Péng zhī bèi, bùzhī qí jǐ qiān lǐ yě; nù ér fēi, qí yì ruò chuí tiān zhī yún. Shì niǎo yě, hǎiyùn zé jiāng xǐ yú nán míng. Nán míng zhě, tiānchí yě.“Qí xié” zhě, zhì guài zhě yě.“Xié” zhī yán yuē:`Péng zhī xǐ yú nán míng yě, shuǐ jī sānqiān lǐ, tuán fúyáo ér shàng zhě jiǔ wàn lǐ, qù yǐ liù yuè xí zhě yě.'Yěmǎ yě, chén'āi yě, shēngwù zhī yǐ xī xiāng chuī yě. Tiān zhī cāngcāng, qí zhèngsè xié? Qí yuǎn ér wú suǒ zhìjí xié? Qí shì xià yě, yì ruòshì zé yǐ yǐ. Qiě fū shuǐ zhī jī yě bù hòu, zé fù dà zhōu yě wúlì. Fù bēi shuǐ yú ào táng zhī shàng, zé jiè wèi zhī zhōu; zhì bēi yān zé jiāo, shuǐ qiǎn ér zhōu dà yě. Fēng zhī jī yě bù hòu, zé qí fù dà yì yě wúlì. Gù jiǔ wàn lǐ, zé fēng sī zàixià yǐ, érhòu nǎi jīn péi fēng; bèifù qīngtiān ér mò zhī yāo è zhě, érhòu nǎi jīn jiāng tú nán. \r \r Tiáo yǔ xué jiū xiào zhī yuē:`Wǒ juéqǐ ér fēi, qiāng yú fāng, shí zé bùzhì, ér kòng yú dì éryǐ yǐ, xīyǐzhī jiǔ wàn lǐ ér nán wèi!'Shì mǎngcāng zhě, sān cān ér fǎn, fù yóu guǒrán; shì bǎi lǐ zhě, sù chōng liáng; shì qiān lǐ zhě, sān yuè jù liáng. Zhī èr chóng yòu hé zhī! Xiǎozhī bùjí dà zhī, xiǎo nián bùjí dà nián. Xī yǐ zhī qí rán yě? Cháo jūn bùzhī huìshuò, huì gū bùzhī chūnqiū, cǐ xiǎo nián yě. Chǔ zhī nán yǒu míng líng zhě, yǐ wǔbǎi suì wèi chūn, wǔbǎi suì wèi qiū; shànggǔ yǒu dà chūn zhě, yǐ bāqiān suì wèi chūn, bāqiān suì wèi qiū. Ér péngzǔ nǎi jīn yǐjiǔ tè wén, zhòngrén pǐ zhī, bù yì bēi hū! \r \r Tāng zhī wèn jí yěshì yǐ. Qióng fà zhī běi yǒu míng hǎi zhě, tiānchí yě. Yǒu yú yān, qí guǎng shù qiān lǐ, wèi yǒu zhī qí xiū zhě, qí míng wèi kūn. Yǒu niǎo yān, qí míng wèi péng, bèi ruò tài shān, yì ruò chuí tiān zhī yún, tuán fúyáo yángjiǎo ér shàng zhě jiǔ wàn lǐ, jué yúnqì, fù qīngtiān, ránhòu tú nán, qiě shì nán míng yě. Chì yàn xiào zhī yuē:`Bǐ qiě xī shì yě? Wǒ téngyuè ér shàng, bùguò shù rèn ér xià, áoxiáng pénghāo zhī jiān, cǐ yì fēi zhī zhì yě. Ér bǐ qiě xī shì yě?'Cǐ xiǎo dà zhī biàn yě. Gù fū zhī xiào yī guān, xíng bǐ yī xiāng, dé hé yī jūn, ér zhǐ yī guó zhě, qí zì shì yě yì ruò cǐ yǐ. Ér sòng róngzi yóurán xiào zhī. Qiě jǔshì ér yù zhī ér bù jiā quàn, jǔshì ér fēi zhī ér bù jiā jǔ, dìng hū nèiwài zhī fēn, biàn hū róngrǔ zhī jìng, sī yǐ yǐ. Bǐ qí yú shì, wèishù shù rán yě. Suīrán, yóu yǒu wèi shù yě. Fū lièzǐ yùfēng ér xíng, líng rán shànyě, xún yǒu wǔ rì érhòu fǎn. Bǐ yú zhì fú zhě, wèi shù shù rán yě. Cǐ suī miǎn hū xíng, yóu yǒu suǒ dài zhě yě. Ruòfú chéng tiāndì zhī zhèng, ér yù liù qì zhī biàn, yǐ yóu wúqióng zhě, bǐ qiě è hū dài zāi! Gù yuē: Zhì rén wú jǐ, shén rén wú gōng, shèngrén wúmíng. \r \r Yáo ràng tiānxià yú xǔ yóu, yuē:`Rì yuè chū yǐ ér jué huǒ bù xī, qí yú guāng yě, bù yì nán hū! Shíyǔ jiàng yǐ ér yóu jìn guàn, qí yú zé yě, bù yì láo hū! Fūzǐ lì ér tiānxià zhì, ér wǒ yóu shī zhī, wú zì shì quē rán, qǐng zhì tiānxià.'Xǔ yóu yuē:`Zi zhì tiānxià, tiānxià jì yǐ zhì yě. Ér wǒ yóu dài zi, wú jiāng wèi míng hū? Míng zhě, shí zhī bīn yě. Wú jiāng wèi bīn hū? Jiāoliáo cháo yú shēnlín, bùguò yīzhī; yǎn shǔ yǐn hé, bùguò mǎnfù. Guī xiū hū jūn, yǔ wú suǒyòng tiānxià wèi! Páo rén suī bù zhì páo, shī zhù bù yuè zūn zǔ ér dài zhī yǐ.' \r \r Jiān wú wèn yú lián shū yuē:`Wú wén yán yú jiē yú, dà'érwúdàng, wǎng ér bù fǎn. Wú jīng bù qí yán, yóu héhàn ér wújí yě, dà yǒu jìng tíng, bù jìn rénqíng yān.'Lián shū yuē:`Qí yán wèi hé zāi?'Yuē:`“Miǎo gū shè zhī shān, yǒu shén rén jū yān, jīfū ruò bīngxuě, nào yuē ruò chǔzǐ. Bù shí wǔgǔ, xī fēng yǐn lù. Chéng yúnqì, yù fēilóng, ér yóu hū sìhǎi zhī wài. Qí shén níng, shǐ wù bù cī lì ér nián gǔ shú.” Wú yǐ shì kuáng ér bùxìn yě.'Lián shū yuē:`Rán. Gǔ zhě wú yǐ yǔ hū wénzhāng zhī guān, lóngzhě wú yǐ yǔ hū zhōng gǔ zhī shēng. Qǐ wéi xínghái yǒu lóng máng zāi? Fū zhī yì yǒu zhī. Shì qí yán yě, yóu shí nǚ yě. Zhī rén yě, zhī dé yě, jiāng páng bó wànwù yǐwèi yī. Shì qí hū luàn, shú bì bì yān yǐ tiānxià wèi shì! Zhī rén yě, wù mò zhī shāng, dà jìn jī tiān ér bù nì, dà hàn jīnshí liú, tǔshān jiāo ér bù rè, shì qí chéngòu bǐ kāng, jiāng yóu táozhù yáo, shùn zhě yě, shú kěn yǐ wù wèi shì!'Sòng rén zī zhāng fǔ ér shì zhū yuè, yuè rén duàn fà wénshēn, wú suǒyòng zhī. Yáo zhì tiānxià zhī mín, píng hǎinèi zhī zhèng, wǎng jiàn sì zi miǎo gū shè zhī shān, fén shuǐ zhī yáng, yǎo rán sàng qí tiānxià yān. \r \r Huìzi wèi zhuāng zǐ yuē:`Wèiwángyí wǒ dà hù zhī zhǒng, wǒ shù zhī chéng ér shí wǔ shí. Yǐ shèng shuǐ jiāng, qí jiān bùnéng zì jǔ yě. Pōu zhī yǐwèi piáo, zé hù luò wú suǒ róng. Fēi bù xiāo rán dà yě, wúwèi qí wúyòng ér póu zhī.'Zhuāng zǐ yuē:`Fūzǐ gù zhuō yú yòng dà yǐ. Sòng rén yǒu shàn wèi bù guī shǒu zhī yào zhě, shìshì yǐ píng pì kuàng wèi shì. Kè wén zhī, qǐng mǎi qí fāng bǎi jīn. Jù zú ér móu yuē:“Wǒ shìshì wèi píng pì kuàng, bùguò shù jīn; jīn yī zhāo ér yù jì bǎi jīn, qǐng yǔ zhī.” Kè dé zhī, yǐ shuō wú wáng. Yuè yǒunán, wú wáng shǐ zhī jiàng, dōng yǔ yuè rén shuǐ zhàn, dàbài yuè rén, liè dì ér fēng zhī. Néng bù guī shǒu, yī yě; huò yǐ fēng, huò bùmiǎn yú píng pì kuàng, zé suǒyòng zhī yì yě. Jīn zi yǒu wǔ shí zhī hù, hébùlǜ yǐwèi dà zūn ér fú hū jiānghú, ér yōu qí hù luò wú suǒ róng? Zé fūzǐ yóu yǒu péng zhī xīn yě fū!' \r \r Huìzi wèi zhuāng zǐ yuē:`Wú yǒu dàshù, rén wèi zhī chū. Qí dà běn yōng zhǒng ér bù zhòng shéngmò, qí xiǎo zhī juǎnqū ér bù zhòng guījǔ, lì zhī tú, jiàng zhě bùgù. Jīn zǐ zhī yán, dà ér wúyòng, zhòng suǒ tóng qù yě.' Zhuāng zǐ yuē:`Zi dú bùjiàn lí shēng hū? Bēi shēn ér fú, yǐ hòu áo zhě; dōngxī tiàoliáng, bù bì gāo xià; zhōng yú jī pì, sǐ yú wǎng gǔ. Jīn fū lí niú, qí dà ruò chuí tiān zhī yún. Cǐ néng wèi dà yǐ, ér bùnéng zhí shǔ. Jīn zi yǒu dàshù, huàn qí wúyòng, hé bù shù zhī yú wú hé yǒu zhī xiāng, guǎng mò zhī yě, fǎnghuáng hū wú wèi qí cè, xiāoyáo hū qǐn wò qí xià? Bù yāo jīn fǔ, wù wúhài zhě, wú suǒ kěyòng, ān suǒ kùnkǔ zāi!'"""@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P21 ; wdt:P2561 "Gao Lu 高路 " ; wdt:P27 ; wdt:P569 "1981-10"^^xsd:gYearMonth ; wdt:P800 ; wdt:P812 , , ; wdt:P856 ; wdt:P937 ; write:description "Gao Lu is a lecturer in Film Production at the School of Film and Animation of the China Academy of Art in Hangzhou, where he also serves as head of the XR Lab. His research and teaching focus on the intersection of artificial intelligence, virtual reality, extended reality, and moving image practices. He develops experimental projects that explore how immersive technologies can expand the aesthetic and narrative possibilities of contemporary art."@en ; write:hasCalligraphicTraining "Not present"@en . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Yan Shanchun 严善錞" ; wdt:P27 ; wdt:P569 "1957"^^xsd:gYear ; wdt:P812 , , ; wdt:P937 ; write:description "Yan Shanchun, born in 1957 in Hangzhou, China, graduated from the Zhejiang Academy of Fine Arts (now the China Academy of Art) in 1982, majoring in printmaking. He currently lives and works in Hangzhou. He holds both a Bachelor's and a Ph.D. from the China Academy of Art. Additionally, Yan Shanchun is a senior researcher at the Shenzhen Institute of Art. His published works often explore themes such as Literati and Art."@en ; write:hasCalligraphicTraining "Academic"@en ; write:isCuratorOf . rdfs:label "Mostra: La musica dell'inchiostro - Braidense National Library Official Website" . rdfs:label "Made by Tiande II (Chambers Fine Art)" . rdfs:label "Made by Tiande (Chambers Fine Art)" . rdfs:label "Chambers Fine Art (New York, 2013)" . rdfs:label "Cui Fei's website" . rdfs:label "Cui Fei's bio" . rdfs:label "Manuscript of Nature VIII_III (Cuifei.net)" . rdfs:label "Guangdong Modern Dance Company - Official Website" . rdfs:label "Hua Jun - iPreciation" . rdfs:label "Isabelle Giovacchini - Official Website" . rdfs:label "Olivia Kwong - Biography" . rdfs:label "Qiu Zhijie - Archive" . wd:Q11460 rdfs:label "clothing" . wd:Q123857363 rdfs:label "plant pigment" . wd:Q1308336 rdfs:label "sole" . wd:Q1431523 rdfs:label "glaze" . wd:Q171495 rdfs:label "mattress" . wd:Q183670 rdfs:label "chalk" . wd:Q184395 rdfs:label "seawater" . wd:Q212989 rdfs:label "swimsuit" . wd:Q22657 rdfs:label "concrete" . wd:Q22731 rdfs:label "stone" . wd:Q25416319 rdfs:label "human face" . wd:Q266545 rdfs:label "luminous paint" . wd:Q273318 rdfs:label "syringe" . wd:Q28136501 rdfs:label "motion capture suit" . wd:Q37017 rdfs:label "face" . wd:Q3850202 rdfs:label "seal" . wd:Q42948 rdfs:label "wall" . wd:Q45621 rdfs:label "ceramic" . wd:Q5880 rdfs:label "vagina" . wd:Q618710 rdfs:label "gauze" . wd:Q659495 rdfs:label "aerosol spray" . wd:Q6918773 rdfs:label "ribbon" . wd:Q7390 rdfs:label "voice" . wd:Q855680 rdfs:label "mannequin" . wd:Q9545439 rdfs:label "paper lantern" . rdfs:label "Artistic Research" . rdfs:label "Baidu " . rdfs:label "Jiao Tianlong 焦天龙" ; write:isCuratorOf . rdfs:label "Bologna University Library" . rdfs:label """Luo Qi: Calligrafie musicali\r Performance di calligrafia & musica - BUB official website""" . rdfs:label "Luo Qi: Calligrafie musicali - Library of the University of Bologna official website " . rdfs:label "Chou Wen-Chung - Official Website" . rdfs:label "Collegium Musicum Almae Matris" . rdfs:label "Unibo (DIT)" . rdfs:label "Drawshine - Official Website" . rdfs:label "Writing Non-Writing: The Third Hangzhou International Modern Calligraphy Exhibition (China Academy of Art)" . rdfs:label "Tong Yang-Tze website (English)" . rdfs:label "Oops crew Flickr" . rdfs:label "Russell Panczenko" ; write:isCuratorOf . rdfs:label "Fu Qiumeng - Official Website" . rdfs:label "Feng Mengbo (CAFA / Professors)" . rdfs:label "Qiu Zhenzhong - Biography (CAFA)" . rdfs:label "Jessie Yingying Gong - Official Website" . rdfs:label "Jessie Yingying Gong - Official Website" . rdfs:label "Li Xinmo - Official Website" . rdfs:label "WeChat" . rdfs:label "WeChat" . rdfs:label "WeChat" . rdfs:label "WeChat" . rdfs:label "WeChat" . rdfs:label "Zhejiang Art Museum (link Wechat to the exhibition)" . rdfs:label "WeChat " . rdfs:label "WeChat" . rdfs:label "Museum für Ostasiatische Kunst " . rdfs:label "Sandro Cerino - Official Website" . rdfs:label "Three Installations by Xu Bing - Elvehjem Museum of Art (University of Wisconsin-Madison)" . rdfs:label "Inside Out (Asia Society)" . rdfs:label "CAA" . rdfs:label "Territori - Ibiza Performance Art Festival Official Website" . rdfs:label "Tong Yang-tze - Official Website" . rdfs:label "Tong Yang-Tze website (Chinese)" . rdfs:label "Video making of" . rdfs:label "Gu Wenda - Official Archive" . rdfs:label "Weibo Account Himalayas Museum (zh)" . rdfs:label "WRITE - Official Website" . rdfs:label "Website" . rdfs:label "Huang Zhuan 黄专" ; write:isCuratorOf . rdfs:label "ART EXB" . rdfs:label "Out of Character (Asianart.com)" . rdfs:label "Black Series (The British Museum)" . rdfs:label "Writing Non-writing: Hangzhou International Modern Calligraphy Festival (CAA)" . rdfs:label "Chen Zijin (CAA)" . rdfs:label "CAA/Zhang Aiguo" . rdfs:label "Xu Jiang (China Academy of Art)" . rdfs:label "CAFA ART INFO - Official Website" . rdfs:label "Feng Mengbo (CAFA)" . rdfs:label "Château Mouton Rothschild - Official Website" . rdfs:label "Château Mouton Rothschild - Official Website" . rdfs:label "Cloud Gate Dance Theatre of Taiwan - Official Website" . rdfs:label "Douyin.com" . rdfs:label "TikTok - Official Account" . rdfs:label "Douyin.com" . rdfs:label "Douyin.com" . rdfs:label "Douyin.com" . rdfs:label "Echo Morgan - Official Website" . rdfs:label "Facebook account" . rdfs:label "Facebook account" . rdfs:label "Guangdong Modern Dance Company - Facebook Official Page" . rdfs:label "Festival Perform" . rdfs:label "Flickr account" . rdfs:label "Giusy Caruso - Official Website" . rdfs:label "Wang Dongling's bio (inkstudio)" . rdfs:label "Inkstudio" . rdfs:label "Wang Tiande (InkStudio)" . rdfs:label "Instagram account Noise" . rdfs:label "Instagram account" . rdfs:label "Instagram account" . rdfs:label "Instagram account" . rdfs:label "Instagram account" . rdfs:label "Instagram account" . rdfs:label "Instagram account" . rdfs:label "Jer Instagram account" . rdfs:label "Keno Instagram account" . rdfs:label "Kwan clan Instagram account" . rdfs:label "Chu Chu (instagram)" . rdfs:label "Qin Feng (Instagram)" . rdfs:label "Instagram account Seven" . rdfs:label "Instagram account Smer" . rdfs:label "Instagram Account" . rdfs:label "Instagram account" . rdfs:label "LaBiennale" . rdfs:label "Loom Loop - Official Website" . rdfs:label "Kim L. Machan" ; write:isCuratorOf . rdfs:label "MAAP 2006: Out of the Internet" . rdfs:label "Marc&Chantal - Website" . rdfs:label "The Metropolitan Museum of Art" . rdfs:label "INKiostro di voci: Luo Qi e 30 anni di calligrafismo - Museo internazionale e biblioteca della musica" . rdfs:label "Inky Strings - International Museum and Library of Music Website" . rdfs:label "Sound MAP - Museo Internazionale e Biblioteca della Musica" . rdfs:label "OÖ Landes-Kultur GmbH" . rdfs:label "Qin Feng (official website)" . rdfs:label "Qin Feng's bio" . rdfs:label "Qin Feng (Official website)" . rdfs:label "Video (Real Time Arts)" . rdfs:label "The Robert H. N. Ho Family Foundation " . rdfs:label "Website of the San Francisco Museum of Modern Art" . rdfs:label """San Francisco Museum of Modern Art (SFMoMA) - Inside/Out\r New Chinese Art""" . rdfs:label "Vienna Art Week" . rdfs:label "Vivienne Tam - Official Website" . rdfs:label "Boston" ; wdt:P625 "Point(-71.05777777777777 42.360277777777775)"^^geosparql:wktLiteral . rdfs:label "definition" . rdfs:label "acronym" . rdfs:label "Camellia sinensis" . rdfs:label "Taiji" . rdfs:label "grief" . rdfs:label "South China" ; wdt:P625 "Point(111 22.6)"^^geosparql:wktLiteral . rdfs:label "Derrida, Jacques" . rdfs:label "Gong Zizhen" . rdfs:label "Inside Out: New Chinese Art" . rdfs:label "rainbow" . rdfs:label "vocal performance" . rdfs:label "Hamburg" ; wdt:P625 "Point(10 53.55)"^^geosparql:wktLiteral . rdfs:label "Olympics-logo" . rdfs:label "Zhengzhou Art Museum" ; wdt:P625 "Point(113.53679 34.7435)"^^geosparql:wktLiteral . rdfs:label "Visual Communication Design" . rdfs:label "delicacy" . rdfs:label "panel" . rdfs:label "Great Learning" . rdfs:label "space" . rdfs:label "black" . rdfs:label "clerical script" . rdfs:label "Chongzhou" ; wdt:P625 "Point(103.66916666666667 30.635)"^^geosparql:wktLiteral . rdfs:label "firefighter" . rdfs:label "teal" . rdfs:label "authorship" . rdfs:label "nonsense" . rdfs:label "Departing from Baidi in the Morning" . rdfs:label "Dongba" ; wdt:P625 "Point(116.55032 39.9626)"^^geosparql:wktLiteral . rdfs:label "blindness" . rdfs:label "b-boy" . rdfs:label "Zhou Xingsi" . rdfs:label "black men" . rdfs:label "Pu Lieping" . rdfs:label "content creator" . rdfs:label "Chengdu Art Museum" . rdfs:label "Wang Chunchen" . rdfs:label "Berlin Mural Fest 2018" . rdfs:label "Kochi" ; wdt:P625 "Point(76.23333333333333 9.966666666666667)"^^geosparql:wktLiteral . rdfs:label "Huang Miaozi" . rdfs:label "medicine" . rdfs:label "rubbing" . rdfs:label "affection" . rdfs:label "Adriano Màdaro" . rdfs:label "human condition" . rdfs:label "armchair" . rdfs:label "A Thousand Li of Rivers and Mountains" . rdfs:label "Wu Shanzhuan" . rdfs:label "hip hop culture" . rdfs:label "mind and body" . rdfs:label "99°art center" . rdfs:label "Cultural identity" . rdfs:label "Pengxi" . rdfs:label "snow storm" . rdfs:label "member of political party" . rdfs:label "Hanyu Da Cidian" . rdfs:label "force" . rdfs:label "drum" . rdfs:label "omnipotence" . rdfs:label "film" . rdfs:label "Thaïs" . rdfs:label "Ng Hong Chiok" . rdfs:label "complexion" . rdfs:label "Five Classics" . rdfs:label "Book of Jin" . rdfs:label "undeciphered writing system" . rdfs:label "Slender Gold style of calligraphy" . rdfs:label "theatre" . rdfs:label "Zheng Daozhao" ; wdt:P800 . rdfs:label "information technology" . rdfs:label "wrapping paper" . rdfs:label "David Abram" . rdfs:label "Wallach Art Gallery" ; wdt:P625 "Point(-73.95877767301009 40.81739799221735)"^^geosparql:wktLiteral . rdfs:label "Wuhan" ; wdt:P625 "Point(114.2975 30.595)"^^geosparql:wktLiteral . rdfs:label "吴洪亮" . rdfs:label "participation" . rdfs:label "Sadler's Wells Theatre" ; wdt:P625 "Point(-0.106262 51.529412)"^^geosparql:wktLiteral . rdfs:label "composing" . rdfs:label "denunciation" . rdfs:label "Smithsonian American Art Museum" ; wdt:P625 "Point(-77.023333333333 38.897777777778)"^^geosparql:wktLiteral . rdfs:label "needle" . rdfs:label "Mencius" . rdfs:label "small seal script" . rdfs:label "regular script" . rdfs:label "Britta Erickson" ; write:isCuratorOf . rdfs:label "Feicheng" ; wdt:P625 "Point(116.772 36.186)"^^geosparql:wktLiteral . rdfs:label "Symphony No. 9" . rdfs:label "music director" . rdfs:label "Wendeng District" ; wdt:P625 "Point(122.05 37.2)"^^geosparql:wktLiteral . rdfs:label "Shengtian Zheng" . rdfs:label "adaptation" . rdfs:label "disease" . rdfs:label "writing implement" . rdfs:label "Invisible Cities" . rdfs:label "QR code" . rdfs:label "Adidas" . rdfs:label "Mandarin Oriental Hotel Group" . rdfs:label "mortality" . rdfs:label "brownish" . rdfs:label "Chongqing" ; wdt:P625 "Point(106.55277777778 29.562777777778)"^^geosparql:wktLiteral . rdfs:label "spring" . rdfs:label "self-expression" . rdfs:label "Three Gorges Dam" . rdfs:label "progression" . rdfs:label "Thousand Character Classic" . rdfs:label "instrumentalist" . rdfs:label "Fan Kuan" ; wdt:P800 . rdfs:label "dynamics" . rdfs:label "natural landscape" . rdfs:label "flutist" . rdfs:label "impermanence" . rdfs:label "Chicago" ; wdt:P625 "Point(-87.62777777777778 41.88194444444444)"^^geosparql:wktLiteral . rdfs:label "spring" . rdfs:label "summer" . rdfs:label "Chieti" ; wdt:P625 "Point(14.167427777778 42.351113888889)"^^geosparql:wktLiteral . rdfs:label "San Benedetto del Tronto" ; wdt:P625 "Point(13.883330555556 42.943780555556)"^^geosparql:wktLiteral . rdfs:label "Hettie Judah" . rdfs:label "Compagnie des Arts de la Table et de l'Email" . rdfs:label "Prunus persica" . rdfs:label "left" . rdfs:label "Apple logo" . rdfs:label "Hanfu" . rdfs:label "percussion instrument" . rdfs:label "Reggio Emilia" ; wdt:P625 "Point(10.633333333333 44.7)"^^geosparql:wktLiteral . rdfs:label "Ferrara" ; wdt:P625 "Point(11.6175 44.839166666666664)"^^geosparql:wktLiteral . rdfs:label "Forlì" ; wdt:P625 "Point(12.04138888888889 44.22277777777778)"^^geosparql:wktLiteral . rdfs:label "table tennis player" . rdfs:label "Pittsburgh" ; wdt:P625 "Point(-80 40.44166666666667)"^^geosparql:wktLiteral . rdfs:label "Enrico Intra" . rdfs:label "opera" . rdfs:label "Va, pensiero" . rdfs:label "Jinniu District" ; wdt:P625 "Point(104.04875 30.69376)"^^geosparql:wktLiteral . rdfs:label "Cosenza" ; wdt:P625 "Point(16.25 39.3)"^^geosparql:wktLiteral . rdfs:label "uncertainty" . rdfs:label "monkey" . rdfs:label "Wen Tingyun" . rdfs:label "inversion" . rdfs:label "cultural identity" . rdfs:label "reconstruction" . rdfs:label "René Böll" . rdfs:label "divinity" . rdfs:label "eternity" . rdfs:label "xiao" . rdfs:label "Jinxi" . rdfs:label "swallow" . rdfs:label "Feng Mengbo" . rdfs:label "Four Books" . rdfs:label "Ruan Ji" . rdfs:label "Florida Gulf Coast University" ; wdt:P625 "Point(-81.7729 26.4625)"^^geosparql:wktLiteral . rdfs:label "Médoc" ; wdt:P625 "Point(-1 45)"^^geosparql:wktLiteral . rdfs:label "Soirées musicales" . rdfs:label "Hanyu Da Zidian" . rdfs:label "Qiu Zhijie" . rdfs:label "Hengyang" ; wdt:P625 "Point(112.58568 26.89676)"^^geosparql:wktLiteral . rdfs:label "right" . rdfs:label "displacement" . rdfs:label "pencil" . rdfs:label "La donna è mobile" . rdfs:label "mortise and tenon" . rdfs:label "furniture" . rdfs:label "laboratory technician" . rdfs:label "prostitute" . rdfs:label "mindfulness" . rdfs:label "Olympic torch" . rdfs:label "social criticism" . rdfs:label "harm" . rdfs:label "cocktail dress" . rdfs:label "Guangxi" ; wdt:P625 "Point(108.3 23.6)"^^geosparql:wktLiteral . rdfs:label "ash" . rdfs:label "shame" . rdfs:label "dance improvisation" . rdfs:label "Jiang Xu" . rdfs:label "Ca' Foscari University of Venice" . rdfs:label "Hindi" . rdfs:label "lecturer" . rdfs:label "Magnolia" . rdfs:label "Nanshan Ski Village" ; wdt:P625 "Point(116.85666667 40.33222222)"^^geosparql:wktLiteral . rdfs:label "dictionary entry" . rdfs:label "German-language poetry" . rdfs:label "Travelers Among Mountains and Streams" . rdfs:label "Grasses" . rdfs:label "Zhu Qingsheng" . rdfs:label "Christian Dior" . rdfs:label "bassoon" . rdfs:label "shadow" . rdfs:label "Gu Gan" . rdfs:label "Chinese knotting" . rdfs:label "Lu Wenyu" . rdfs:label "Fan Di'an" . rdfs:label "Wang Jingze" . rdfs:label "intimacy" . rdfs:label "horn" . rdfs:label "experimental music" . rdfs:label "world" . rdfs:label "pen" . rdfs:label "San Diego" ; wdt:P625 "Point(-117.1625 32.715)"^^geosparql:wktLiteral . rdfs:label "percussion" . rdfs:label "interaction" . rdfs:label "spirituality" . rdfs:label "Jinshanling" ; wdt:P625 "Point(117.25084 40.678766)"^^geosparql:wktLiteral . rdfs:label "conflagration" . rdfs:label "environmental change" . rdfs:label "Ürümqi" ; wdt:P625 "Point(87.6125 43.8225)"^^geosparql:wktLiteral . rdfs:label "Jinan" ; wdt:P625 "Point(116.98333333333 36.666666666667)"^^geosparql:wktLiteral . rdfs:label "creativity" . rdfs:label "brown" . rdfs:label "rescuer" . rdfs:label "mattress" . rdfs:label "Nanchang" ; wdt:P625 "Point(115.887222 28.684167)"^^geosparql:wktLiteral . rdfs:label "Otello" . rdfs:label "digital video" . rdfs:label "Changsha" ; wdt:P625 "Point(112.97087 28.19874)"^^geosparql:wktLiteral . rdfs:label "paint" . rdfs:label "typeface" . rdfs:label "singer" . rdfs:label "demon" . rdfs:label "azure" . rdfs:label "interview" . rdfs:label "polyphony" . rdfs:label "Kochi" ; wdt:P625 "Point(76.283333333333 9.9666666666667)"^^geosparql:wktLiteral . rdfs:label "Zhang Huan" . rdfs:label "installation artist" . rdfs:label "Korea" ; wdt:P625 "Point(127.23333333333 38.316666666667)"^^geosparql:wktLiteral . rdfs:label "Kaohsiung" ; wdt:P625 "Point(120.2975 22.615)"^^geosparql:wktLiteral . rdfs:label "lighting design" . rdfs:label "Cao Xueqin" . rdfs:label "desertification" . rdfs:label "Alatri" ; wdt:P625 "Point(13.342222222222 41.726388888889)"^^geosparql:wktLiteral . rdfs:label "Tarbes" ; wdt:P625 "Point(0.074444444444444 43.232777777778)"^^geosparql:wktLiteral . rdfs:label "performing arts" . rdfs:label "lexicography" . rdfs:label "matriarchy" . rdfs:label "intersection" . rdfs:label "time perception" . rdfs:label "contemporary art" . rdfs:label "La traviata" . rdfs:label "nurse" . rdfs:label "Luoyang" ; wdt:P625 "Point(112.42447 34.65867)"^^geosparql:wktLiteral . rdfs:label "emigration" . rdfs:label "German" . rdfs:label "飲湖上初晴後雨二首" . rdfs:label "envy" . rdfs:label "The Complete Works of Dongpo" . rdfs:label "exile" . rdfs:label "蜀道難" . rdfs:label "A Song of Dagger-dancing to a Girl-pupil of Lady Gongsun" . rdfs:label "3D computer graphics" . rdfs:label "bud" . rdfs:label "asterisk" . rdfs:label "essence" . rdfs:label "Louis Vuitton" . rdfs:label "Heilongjiang" ; wdt:P625 "Point(129 48)"^^geosparql:wktLiteral . rdfs:label "Guiyang" ; wdt:P625 "Point(106.70777777778 26.579444444444)"^^geosparql:wktLiteral . rdfs:label "Expo 2010 Shanghai China" . rdfs:label "ambient music" . rdfs:label "Xu Bing" . rdfs:label "transcendence" . rdfs:label "paintbrush" . rdfs:label "immortality" . rdfs:label "ochre" . rdfs:label "lunisolar calendar" . rdfs:label "Latin-script letter" . rdfs:label "war" . rdfs:label "pagoda" . rdfs:label "Earth" . rdfs:label "suitcase" . rdfs:label "Solomon R. Guggenheim Museum" ; wdt:P625 "Point(-73.9588888888889 40.783055555555556)"^^geosparql:wktLiteral . rdfs:label "teak" . rdfs:label "infinity" . rdfs:label "State Library of Queensland" ; wdt:P625 "Point(153.018104 -27.471191)"^^geosparql:wktLiteral . rdfs:label "feeling" . rdfs:label "Turandot" . rdfs:label "The Barber of Seville" . rdfs:label "loss" . rdfs:label "sutra" . rdfs:label "Qufu" ; wdt:P625 "Point(116.98333333333 35.6)"^^geosparql:wktLiteral . rdfs:label "Yantai" ; wdt:P625 "Point(121.44777777777777 37.464444444444446)"^^geosparql:wktLiteral . rdfs:label "disaster remains" . rdfs:label "Yinchuan" ; wdt:P625 "Point(106.225 38.485)"^^geosparql:wktLiteral . rdfs:label "Sans papiers" . rdfs:label "Chinese propaganda poster" . rdfs:label "colorful" . rdfs:label "Hebei" ; wdt:P625 "Point(114.50861111111 38.042222222222)"^^geosparql:wktLiteral . rdfs:label "swimsuit" . rdfs:label "advice" . rdfs:label "Victoria and Albert Museum" . rdfs:label "Rohan de Saram" ; wdt:P453 . rdfs:label "Ithaca" ; wdt:P625 "Point(-76.5 42.443333333333)"^^geosparql:wktLiteral . rdfs:label "Nanning" ; wdt:P625 "Point(118.03333333333 -26.966666666667)"^^geosparql:wktLiteral . rdfs:label "sustainability" . rdfs:label "mural" . rdfs:label "Die Libelle" . rdfs:label "rejuvenation" . rdfs:label "Flat brush script" . rdfs:label "On Hearing the First Cuckoo in Spring" . rdfs:label "ice" . rdfs:label "archaeology" . rdfs:label "dictionary" . rdfs:label "undocumented immigrant" . rdfs:label "litany" . rdfs:label "freedom" . rdfs:label "spontaneity" . rdfs:label "liberation" . rdfs:label "season" . rdfs:label "Indonesia" ; wdt:P625 "Point(118 -2)"^^geosparql:wktLiteral . rdfs:label "hour" . rdfs:label "hammer" . rdfs:label "lightning bolt" . rdfs:label "human face" . rdfs:label "identity" . rdfs:label "light-emitting diode" . rdfs:label "Les Lilas" ; wdt:P625 "Point(2.4169444444444 48.88)"^^geosparql:wktLiteral . rdfs:label "Six principles of Chinese painting" . rdfs:label "footprint" . rdfs:label "Nazca Lines" . rdfs:label "Naples" ; wdt:P625 "Point(14.248611111111112 40.83583333333333)"^^geosparql:wktLiteral . rdfs:label "Vivienne Tam" . rdfs:label "human fetus" . rdfs:label "luminous paint" . rdfs:label "Maddalena Casulana" . rdfs:label "scenographer" . rdfs:label "reed" . rdfs:label "Sandro Cerino" . rdfs:label "chengyu" . rdfs:label "Shanxi" . rdfs:label "OCT-Contemporary Art Terminal" . rdfs:label "miscarriage" . rdfs:label "Beijing" ; wdt:P625 "Point(107.47751 24.14096)"^^geosparql:wktLiteral . rdfs:label "woodblock print" . rdfs:label "Jinzhou" ; wdt:P625 "Point(121.12916666667 41.114444444444)"^^geosparql:wktLiteral . rdfs:label "branch" . rdfs:label "carcass" . rdfs:label "ecofeminism" . rdfs:label "Lie Yukou" . rdfs:label "Wei Shuo" . rdfs:label "media culture" . rdfs:label "stamping" . rdfs:label "A Tale of Two Cities" . rdfs:label "Magda Danysz Gallery" . rdfs:label "Belgium" ; wdt:P625 "Point(4.6680555555556 50.641111111111)"^^geosparql:wktLiteral . rdfs:label "Tsang Tsou Choi" . rdfs:label "Canberra" ; wdt:P625 "Point(149.12694444444 -35.293055555556)"^^geosparql:wktLiteral . rdfs:label "Chu Kingdom" . rdfs:label "Apple" . rdfs:label "Wang Wei" . rdfs:label "Tao Yuanming" . rdfs:label "fire" . rdfs:label "Mi Fu" . rdfs:label "self" . rdfs:label "Anyang" ; wdt:P625 "Point(114.34614 36.09561)"^^geosparql:wktLiteral . rdfs:label "fruit" . rdfs:label "relaxation music" . rdfs:label "Hakka Chinese" . rdfs:label "Yue Fei" . rdfs:label "Kumārajīva" . rdfs:label "Wang Shu" . rdfs:label "honesty" . rdfs:label "painting" . rdfs:label "metamorphosis" . rdfs:label "Du Fu" . rdfs:label "Accademia di Belle Arti di Venezia" . rdfs:label "decomposition" . rdfs:label "visual artist" . rdfs:label "Tel Aviv" ; wdt:P625 "Point(34.78 32.08)"^^geosparql:wktLiteral . rdfs:label "Nice" ; wdt:P625 "Point(7.2683333333333 43.701944444444)"^^geosparql:wktLiteral . rdfs:label "Tuvan" . rdfs:label "Gao Minglu" . rdfs:label "Tasmania" ; wdt:P625 "Point(147 -42)"^^geosparql:wktLiteral . rdfs:label "imagination" . rdfs:label "Johannesburg" ; wdt:P625 "Point(28.041638888889 -26.204361111111)"^^geosparql:wktLiteral . rdfs:label "Edward Weston" . rdfs:label "Sanyu" . rdfs:label "Xinjiang" ; wdt:P625 "Point(87.61379 43.8253)"^^geosparql:wktLiteral . rdfs:label "three-dimensional space" . rdfs:label "black ribbon" . rdfs:label "Tasmania" ; wdt:P625 "Point(147 -42)"^^geosparql:wktLiteral . rdfs:label "innocence" . rdfs:label "Minneapolis" ; wdt:P625 "Point(-93.26916666666666 44.981944444444444)"^^geosparql:wktLiteral . rdfs:label "soil" . rdfs:label "archaeologist" . rdfs:label "basketball player" . rdfs:label "Chazen Museum of Art" ; wdt:P625 "Point(-89.3996 43.0739)"^^geosparql:wktLiteral . rdfs:label "Chinese martial arts" . rdfs:label "Di quella pira" . rdfs:label "Great Pyramid of Giza" ; wdt:P625 "Point(31.13422 29.97915)"^^geosparql:wktLiteral . rdfs:label "fog" . rdfs:label "Wang Yangming" . rdfs:label "space" . rdfs:label "urbanity" . rdfs:label "la vergine degli angeli" . rdfs:label "Luo Qi" . rdfs:label "origin" . rdfs:label "Liuzhou" ; wdt:P625 "Point(109.4281 24.3264)"^^geosparql:wktLiteral . rdfs:label "purity" . rdfs:label "Sichuan earthquake and emergency relief care for children: report from the firstly arrived pediatricians in the epicenter zone" . rdfs:label "table tennis" . rdfs:label "Chaoyang District" ; wdt:P625 "Point(116.43737 39.92038)"^^geosparql:wktLiteral . rdfs:label "mathematics" . rdfs:label "semantics" . rdfs:label "death" . rdfs:label "Xinyang" ; wdt:P625 "Point(114.06722 32.12641)"^^geosparql:wktLiteral . rdfs:label "Moon" . rdfs:label "Tower of Babel" . rdfs:label "Gwangju" ; wdt:P625 "Point(126.91666666667 35.166666666667)"^^geosparql:wktLiteral . rdfs:label "Sarah Trouche" ; write:isCuratorOf . rdfs:label "Fujian" ; wdt:P625 "Point(118.3 25.9)"^^geosparql:wktLiteral . rdfs:label "Anita Dube" ; write:isCuratorOf . rdfs:label "hiragana character" . rdfs:label "Bopomofo character" . rdfs:label "Chinese jade" . rdfs:label "Gansu" ; wdt:P625 "Point(102 38)"^^geosparql:wktLiteral . rdfs:label "digital transformation" . rdfs:label "cobalt blue" . rdfs:label "Luzhou" ; wdt:P625 "Point(105.44093 28.89182)"^^geosparql:wktLiteral . rdfs:label "oil" . rdfs:label "Wei Ligang" . rdfs:label "pearl" . rdfs:label "Henan" ; wdt:P625 "Point(113.5 33.9)"^^geosparql:wktLiteral . rdfs:label "Madison" ; wdt:P625 "Point(-89.38416666666667 43.07472222222222)"^^geosparql:wktLiteral . rdfs:label "Xu Tingyun" . rdfs:label "Lyon" ; wdt:P625 "Point(4.835 45.7675)"^^geosparql:wktLiteral . rdfs:label "waste" . rdfs:label "Confucius" . rdfs:label "bass guitar" . rdfs:label "A Book from the Sky" . rdfs:label "Hubei" ; wdt:P625 "Point(112.3 31.2)"^^geosparql:wktLiteral . rdfs:label "rape" . rdfs:label "Guizhou" ; wdt:P625 "Point(106.83333333333 26.833333333333)"^^geosparql:wktLiteral . rdfs:label "face-to-face" . rdfs:label "competition" . rdfs:label "aeronautical engineering" . rdfs:label "morality" . rdfs:label "smile" . rdfs:label "An Daoyi" ; wdt:P800 . rdfs:label "garbage" . rdfs:label "Columbia University" . rdfs:label "Sarasota" ; wdt:P625 "Point(-82.535277777778 27.337222222222)"^^geosparql:wktLiteral . rdfs:label "sound" . rdfs:label "jurisprudence" . rdfs:label "Oceano Dunes State Vehicular Recreation Area" . rdfs:label "Zhai Yongming" . rdfs:label "stencil" . rdfs:label "Ministry of Culture and Tourism of the People's Republic of China" . rdfs:label "Central People's Government of the People's Republic of China" . rdfs:label "history of art" . rdfs:label "Chinese Language and Culture" . rdfs:label "Chinese clothing" . rdfs:label "sword dance" . rdfs:label "city" . rdfs:label "creativity and mental illness" . rdfs:label "Doctrine of the Mean" . rdfs:label "geologist" . rdfs:label "Sun" . rdfs:label "Chin Sung Li" ; write:isComposerOf . rdfs:label "Lin Hwai-min" . rdfs:label "Japanese" . rdfs:label "English" . rdfs:label "graphite" . rdfs:label "Taiji" . rdfs:label "synergy" . rdfs:label "Christian Dior" . rdfs:label "Treviso" ; wdt:P625 "Point(12.245555555555555 45.66583333333333)"^^geosparql:wktLiteral . rdfs:label "Stride la vampa" . rdfs:label "Di Provenza il mar" . rdfs:label "Germany" . rdfs:label "Ghiaia Grande (Fiume Po)" ; wdt:P625 "Point(8.318 45.152)"^^geosparql:wktLiteral . rdfs:label "Xu Shen" . rdfs:label "draft document" . rdfs:label "Guangdong Modern Dance Company" . rdfs:label "Ming-style furniture" . rdfs:label "failing" . rdfs:label "Han poetry" . rdfs:label "gesture" . rdfs:label "Jiangxi" . rdfs:label "Chinese classics" . rdfs:label "Xuzhou" ; wdt:P625 "Point(117.18587 34.26104)"^^geosparql:wktLiteral . rdfs:label "suffering" . rdfs:label "Huai'an" ; wdt:P625 "Point(119.13916666666667 33.505833333333335)"^^geosparql:wktLiteral . rdfs:label "Yancheng" ; wdt:P625 "Point(120.15694444444445 33.35)"^^geosparql:wktLiteral . rdfs:label "Taizhou" ; wdt:P625 "Point(119.9 32.483056)"^^geosparql:wktLiteral . rdfs:label "Łódź" ; wdt:P625 "Point(19.466666666667 51.75)"^^geosparql:wktLiteral . rdfs:label "Mao Zedong" . rdfs:label "Oslo" ; wdt:P625 "Point(10.738888888888889 59.913333333333334)"^^geosparql:wktLiteral . rdfs:label "contrabass flute" . rdfs:label "Zhuhai" ; wdt:P625 "Point(113.57194444444444 22.274166666666666)"^^geosparql:wktLiteral . rdfs:label "Yangjiang" ; wdt:P625 "Point(111.96272 21.85563)"^^geosparql:wktLiteral . rdfs:label "Zhongshan" ; wdt:P625 "Point(113.35 22.533333333333)"^^geosparql:wktLiteral . rdfs:label "nonsense" . rdfs:label "A Midsummer Night's Dream" . rdfs:label "tea" . rdfs:label "orange-red" . rdfs:label "Rudong County" ; wdt:P625 "Point(121.1838 32.31762)"^^geosparql:wktLiteral . rdfs:label "contemporary classical music" . rdfs:label "Xiling Society of Seal Arts" . rdfs:label "gauze" . rdfs:label "red-orange" . rdfs:label "reversal" . rdfs:label "social control" . rdfs:label "mistress" . rdfs:label "Pavia" ; wdt:P625 "Point(9.155 45.185280555556)"^^geosparql:wktLiteral . rdfs:label "Brooklyn Museum" ; wdt:P625 "Point(-73.96375 40.671306)"^^geosparql:wktLiteral . rdfs:label "Guangwu Chen" . rdfs:label "artistic concept" . rdfs:label "visual communication design" . rdfs:label "Wu Hung" . rdfs:label "The Haunted Ballroom" . rdfs:label "visibility" . rdfs:label "jealousy" . rdfs:label "Light writing" . rdfs:label "coincidence" . rdfs:label "tag" . rdfs:label "sincerity" . rdfs:label "curator" . rdfs:label "Zhang Ruoxu" . rdfs:label "video art" . rdfs:label "Fuzhou" ; wdt:P625 "Point(119.29166666667 26.076944444444)"^^geosparql:wktLiteral . rdfs:label "Nanping" ; wdt:P625 "Point(118.17282 26.64481)"^^geosparql:wktLiteral . rdfs:label "Xiamen" ; wdt:P625 "Point(118.08194444444 24.479722222222)"^^geosparql:wktLiteral . rdfs:label "Bern" ; wdt:P625 "Point(7.44743 46.94798)"^^geosparql:wktLiteral . rdfs:label "Cloud Gate Dance Theatre" . rdfs:label "consciousness" . rdfs:label "onedotzero" . rdfs:label "Jin Nong" . rdfs:label "aak" . rdfs:label "Suizhou" ; wdt:P625 "Point(113.3658 31.71755)"^^geosparql:wktLiteral . rdfs:label "Wang Yucheng" . rdfs:label "Xingang Township" ; wdt:P625 "Point(120.35 23.55)"^^geosparql:wktLiteral . rdfs:label "gagaku" . rdfs:label "Emperor Gaozu of Han" . rdfs:label "label" . rdfs:label "Quake III Arena" . rdfs:label "propaganda" . rdfs:label "Datong" ; wdt:P625 "Point(113.29138888889 40.093611111111)"^^geosparql:wktLiteral . rdfs:label "Ni Zan" . rdfs:label "Fang Xuanling" . rdfs:label "scenography" . rdfs:label "voice" . rdfs:label "human nature" . rdfs:label "Song dynasty" . rdfs:label "Spring and Autumn Annals" . rdfs:label "social transformation" . rdfs:label "plant" . rdfs:label "Song Dong" . rdfs:label "Song poetry" . rdfs:label "child" . rdfs:label "space art" . rdfs:label "Taotie" . rdfs:label "Russian" . rdfs:label "The Wandering Songstress" . rdfs:label "Today Art Museum" ; wdt:P625 "Point(116.467673 39.899999)"^^geosparql:wktLiteral . rdfs:label "Parigi, o cara noi lasceremo" . rdfs:label "stupidity" . rdfs:label "burgundy" . rdfs:label "Nude on Sand, Oceano" . rdfs:label "William Tang" . rdfs:label "bottle" . rdfs:label "viola" . rdfs:label "Yilan, Heilongjiang" ; wdt:P625 "Point(129.5568 46.3174)"^^geosparql:wktLiteral . rdfs:label "Yin Mei" . rdfs:label "Zhao Puchu" . rdfs:label "basketball" . rdfs:label "dysmenorrhea" . rdfs:label "word" . rdfs:label "Hangul" . rdfs:label "politician" . rdfs:label "Leicester" ; wdt:P625 "Point(-1.1330555555555555 52.63611111111111)"^^geosparql:wktLiteral . rdfs:label "trumpet" . rdfs:label "jazz" . rdfs:label "Confucius Institute" . rdfs:label "trombone" . rdfs:label "Thirty-Six Stratagems" . rdfs:label "oboe" . rdfs:label "University of Wisconsin–Madison" ; wdt:P625 "Point(-89.40416666666667 43.07527777777778)"^^geosparql:wktLiteral . rdfs:label "Asia Society" . rdfs:label "Hermès" . rdfs:label "Grantham" ; wdt:P625 "Point(-0.63805555555556 52.918055555556)"^^geosparql:wktLiteral . rdfs:label "Fuwa" . rdfs:label "coffee" . rdfs:label "sheng" . rdfs:label "researcher" . rdfs:label "Book of Rites" . rdfs:label "London Philharmonic Orchestra" ; wdt:P453 . rdfs:label "2010 Shanghai fire" . rdfs:label "Seoul" ; wdt:P625 "Point(126.99 37.56)"^^geosparql:wktLiteral . rdfs:label "Albanian" . rdfs:label "Book of Documents" . rdfs:label "sole" . rdfs:label "MAAP" . rdfs:label "Peace dove" . rdfs:label "modernization" . rdfs:label "Museum of East-Asian Art" ; wdt:P625 "Point(6.92554 50.9352)"^^geosparql:wktLiteral . rdfs:label "apple" . rdfs:label "Xu Wei" . rdfs:label "Roger Mason" . rdfs:label "Swedish" . rdfs:label "wall decal" . rdfs:label "light" . rdfs:label "Book of Genesis" . rdfs:label "grandmother" . rdfs:label "movement" . rdfs:label "drawing" . rdfs:label "filmmaking" . rdfs:label "Laozi" . rdfs:label "Government of the People's Republic of China" . rdfs:label "stamping" . rdfs:label "emotions" . rdfs:label "Dongling Wang" . rdfs:label "infodemic" . rdfs:label "virtuality" . rdfs:label "degradation" . rdfs:label "Qian Xuan" ; wdt:P800 . rdfs:label "propaganda poster" . rdfs:label "Confucianism" . rdfs:label "Tuva" ; wdt:P625 "Point(94.75 51.783333333333)"^^geosparql:wktLiteral . rdfs:label "Vertheuil" ; wdt:P625 "Point(-0.83416666666667 45.250277777778)"^^geosparql:wktLiteral . rdfs:label "Emperor Taizong of Tang" . rdfs:label "Qu Xiao-Song" . rdfs:label "saxophone" . rdfs:label "porcelain ware" . rdfs:label "王天德" . rdfs:label "relativity" . rdfs:label "curatorial studies" . rdfs:label "Isabelle Giovacchini" . rdfs:label "Quyang County" ; wdt:P625 "Point(114.6974 38.61899)"^^geosparql:wktLiteral . rdfs:label "National Art Museum of China (NAMOC)" . rdfs:label "University Department" . rdfs:label "Three Installations by Xu Bing - Elvehjem Museum of Art (Xu Bing website)" . rdfs:label "Xu Bing (Official Website)" . rdfs:label "The Living Word 1 - Xu Bing website " . rdfs:label "Book from the Sky (Xu Bing website)" . rdfs:label "Xu Bing website - \"Landscripts\"" . rdfs:label "Xuehua" . rdfs:label "Canale YouTube BJPZMO" . rdfs:label "YouTube account" . rdfs:label "Sound MAP - short video of the performance " . rdfs:label "Sound MAP - video " . rdfs:label "Video exhibition San Francisco Museum of Modern Art" . rdfs:label "Video Youtube: 观音(KWAN-YIN)crew - Chinese Style Graffiti" . rdfs:label "Zhejiang Art Museum (link to the exhibition)" . rdfs:label "Video \"Not Too Late\" (Artist's Youtube Channel)" . rdfs:label "Zhang Dawo (official website)" . rdfs:label "bamboo" . rdfs:label "bird and insect script" . rdfs:label "Chinese knotting" . rdfs:label "demolition" . rdfs:label "design style" . rdfs:label "hollows / outline" . rdfs:label "incense" . rdfs:label "ruyi" . rdfs:label "sticker" . rdfs:label "sticker / stencil graffiti" . rdfs:label "Taiji conducting" . rdfs:label "turbulent ocean waves motif" . rdfs:label "vertical waters motif" . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "From the Canglang Pavillion (自·沧浪亭)"@en, "自·沧浪亭"@zh, "Zì·cāng láng tíng"@zh-Latn ; wdt:P1640 ; wdt:P276 ; wdt:P580 "2018-05-18"^^xsd:date ; wdt:P582 "2018-05"^^xsd:gYearMonth ; write:description "The exhibition \"From the Canglang Pavilion\" (Zi 自·cang lang ting ·沧浪亭) curated by Wu Hongliang 吴洪亮, opened on May 18, 2018. This exhibition showcases, for the second time in China and for the first time in Suzhou, the installation of 201 bamboo poles together with 30 polypropylene transparent sheets written by Wang Dongling using cursive script, \"chaos script\" and clerical script. These works were originally part of Wang's solo exhibition \"The Bamboo Path,\" held in Shenzhen in 2017."@en ; write:exhibitedArtwork . a write:CalliWritingUnit ; wdt:P144 , , , , , , ; wdt:P180 , , ; wdt:P186 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 , ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 The Bamboo Path (《画竹》，《 画竹寄友人》)" ; write:description """This CWU is part of the content written by Wang Dongling with white acrylic on transparent propylene panels, which were installed together with 201 bamboo poles to create the installation titled “The Bamboo Path (Zhu jing 竹径)”. \r On the transparent panels, Wang used his distinctive Chaos Script (luanshu 乱书) to write poems about bamboo, as well as prefaces and afterwords (tiba 提跋) on paintings featuring and praising bamboo, written by famous poets and artists of past dynasties. Some examples are: "Spontaneous Verses at a Mountain Retreat in Late Spring" by Zhaolin 卢照邻 (ca. 634–ca. 684 or 686), "At Yuqian, Monk’s Green Bamboo Pavilion" by Su Shi 苏轼 (1037—1101), "Ink Bamboo for a Friend" by Ni Zan 倪瓒 (1301–1374), "Painting Bamboo" by Xu Wenchang 徐文长 (1521–1593), "Ink Bamboo" by Jin Nong 金农 (1687–1763), "Bamboo and Rocks" by Zheng Xie 郑燮 (1693—1765), and "Bamboo in the Rain" by Huang Yi 黄易 (1744–1802).\r """@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:relatedUnit . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Chen Yeung-ping 陳仰平" ; wdt:P27 ; wdt:P569 "1983"^^xsd:gYear ; wdt:P812 , ; wdt:P937 ; sch:thumbnailUrl ; write:description "Chen Yeung-ping is a Hong Kong composer. He received degrees from Hong Kong Baptist University, the Hong Kong Academy for Performing Arts, and the University of California, San Diego (UCSD). From 2013 to 2014, he worked as an assistant researcher for Professor Lei Liang at the Qualcomm Institute, focusing on Chinese music materials. His creative work has been featured in the New York Times and the South China Morning Post. Chen's compositions are published by Universal Edition (Austria) and PARMA Records (USA). He has been a composer-fellow for various prestigious institutions, including the Darmstadt Ensemble Project, the International Ensemble Modern Academy, and others. Currently, he is an Associate Professor of Music at South China Normal University, Director of the Hong Kong Composers’ Guild, and a member of the Executive Committee of the Hong Kong Jockey Club Music and Dance Fund Awardee Association."@en ; write:hasCalligraphicTraining "Present (not specified)"@en ; sch:image ; write:isComposerOf . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU From Inception (从头开始)" ; write:description "This CWU consists of four characters written by Wang Dongling during the performance for the opening of the exhibition “From Inception: Wang Dongling 60 Years of Calligraphy (从头开始 ——王冬龄书法艺术60年)”. Wang Dongling wrote the title of the exhibition \"cong tou kaishi\" (从头开始 ). "@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:transcriptionAndTranslation "From Inception (lit. To start again from the beginning)"@en, "从头开始"@zh, "從頭開始"@zh, "Cóngtóu kāishǐ"@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P1412 , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Fan Sack 庞凡", "Pang Fan "@zh-Latn ; wdt:P27 ; wdt:P569 "1988"^^xsd:gYear ; wdt:P800 ; wdt:P856 ; wdt:P937 , ; sch:thumbnailUrl ; write:description """Artist from Chengdu, also active in Paris since 2008, Pang Fan 庞凡 – better known as Fan Sack – began his activity as a writer in 2003, at the age of fifteen. At the start of his career, Fan Sack started “bombing” the streets of Chengdu with his tag and experimented with various forms of writing, from simple tagging-up to the creation of more complex pieces. \r Fan Sack is a famous artist of international repute; he has his own studio and often shows his works in exhibitions and galleries. Nevertheless, he often comes back to Chengdu to participate in events and festivals, especially involving young people, to contribute to the promotion of the hip-hop culture and spread the graffiti movement in China. \r Throughout his career, Fan Sack has explored different forms of art, such as graffiti writing, street art and painting, creating artworks permeated with Buddhist influences. The artist’s predilection is to make his creations outdoors, on the street, even though Fan Sack may be identified more as a street artist than a simple "graffiti artist". \r Fan Sack is a complex and multifaceted artist. He is perhaps one of the few – among the many Chinese colleagues who started out like him – to have embarked on a fruitful career in continuous evolution and on an international scale. """@en ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:hasTag "Fan Sack"@en ; sch:image . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Redolent of Incense (香火)"@en, "香火"@zh, "Xiānghuǒ"@zh-Latn ; wdt:P1640 ; wdt:P276 ; wdt:P580 "2005"^^xsd:gYear ; wdt:P582 "2005"^^xsd:gYear ; write:description "“Redolent of Incense\" (Xianghuo 香火) is the title of the Solo Exhibtion by Wang Tiande held at Yishu Space (Yishu kongjian 艺术空间) in Vancouver, 2005. The exhibition was hosted and curated by the artist Zheng Shengtian 郑胜天. In this exhibition Wang Tiande wrote charaters on silk clothes using incense in Vancouver, a city where smoking is prohibited in any fully or substantially enclosed public place or work place. The use of incense gave Wang Tiande's works a sort of spirituality."@en ; write:exhibitedArtwork , . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Edge of The Earth: Asian Contemporary Art Invitation Exhibition (地之缘：亚洲当代艺术邀请展)"@en, "地之缘：亚洲当代艺术邀请展"@zh, "De zhī yuán: Yàzhōu dāngdài yìshù yāoqǐng zhǎn"@zh-Latn ; wdt:P276 ; wdt:P580 "2003"^^xsd:gYear ; wdt:P582 "2003"^^xsd:gYear ; write:description "The \"Edge of the Earth\" – Asian Contemporary Art Invitation Exhibition (\"Di zhi yuan\" - Yazhou Dangdai Yishu Yaoqing Zhan \"地之缘\" - 亚洲当代艺术邀请展) was held in Hangzhou, China, in November 2003."@en ; write:exhibitedArtwork , , . a wd:Q17514 ; wdt:P1476 "Luck, Longevity, Prosperity, and Happiness (福禄寿禧)"@en, "福禄壽禧 "@zh, "Fú lù shòu xǐ"@zh-Latn ; wdt:P170 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P276 ; wdt:P462 , , , , , , , ; wdt:P571 "2019-11-02"^^xsd:date ; wdt:P6375 "Tianfu Furong Garden, Chengdu"@en ; write:description """This artwork was made during the Simple Urban Plus Festival, a music and art festival dedicated to young people, which took place on November 2-3, 2019 at the Chengdu Tianfu Furong Garden.\r This artwork is composed of four characters (fulushouxi 福禄壽禧). These four characters form a popular auspicious phrase that means "Luck, Longevity, Prosperity, and Happiness". Each character is placed on a single panel; the four panels are next to one another, and the four characters are read from right to left as usual in traditional Chinese calligraphy. In this work, Fan Sack was probably inspired by the big signs written from right to left in Chinese calligraphy on temples or public buildings.\r The artwork is made exactly like a calligraphy: (1) its format recalls the "big character calligraphy" (dazi shufa 大字书法) of classical tradition; (2) the artist seeks to reproduce brush strokes on paper using a paint roller and a brush; (3) the calligraphic script seems to reproduce regular script (kaishu 楷书), and the links between certain strokes of the characters recall running script (xingshu 行书).\r In contrast to traditional calligraphy, which is always monochrome (black ink on white paper), in this work each character is painted a different colour and has a colourful kaleidoscopic circle in the background that gives tridimensionality and power to each character."""@en ; write:hasChengyu true ; write:hasGraffitiGenre ; write:hasGraffitiStyle ; write:hasGraffitiType ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool , . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Minimal Oriental oder Das grosse Lernen"@de, "Minimal Oriental or The Great Learning"@en ; wdt:P276 ; wdt:P580 "2009-01-24"^^xsd:date ; wdt:P582 "2009-02-21"^^xsd:date ; write:description "The \"Minimal Oriental or The Great Learning\" exhibition was held at the Alexander Ochs Galleries in Berlin from the 24th January to the 21st February 2009. It showcased innovative approach to calligraphic artworks, paintings and sculptures by the Beijing-based conceptual artist Chen Guangwu. Through meticulous techniques, such as reproducing texts from Confucian classics only to dissolve them into sculptures of paper pulps, Chen explores themes of cultural transformation and loss, and he offers a unique perspective on a culture he believes is eroding. Central to his work is the recognition of calligraphy as a performance art, with each brushstroke embodying the calligrapher's gestures and intentions. Chen's minimalist compositions blend tradition with modernity, inviting viewers to contemplate the intricate balance between past and present in contemporary Chinese art."@en ; write:exhibitedArtwork , . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Four Books and Five Classics (四书五经)"@en, "四书五经"@zh, "Sìshū Wǔjīng"@zh-Latn ; wdt:P170 ; wdt:P180 , ; wdt:P186 , ; wdt:P2048 "40.5 cm" ; wdt:P2049 "89.6 cm" ; wdt:P2610 "15 cm" ; wdt:P462 ; wdt:P571 "2008"^^xsd:gYear ; wdt:P608 ; wdt:P941 , , , , , , , , , , , ; write:description """"Four Books and Five Classics (Sishu Wujing 四书五经)" created by Chen Guangwu in 2008, involved a unique artistic process. Chen first wrote the contents of the books with ink on paper. Then, he macerated all the xuan paper with the text in a basin of water, making paper pulp, made of the fibers of paper, this process is tipically used to recycle paper or other materials. The process of making paper pulp involves breaking down the raw materials into small fibers, which are then mixed with water to form a slurry. \r The process of making paper pulp begins with breaking down raw materials into small fibers, which are then mixed with water to create a slurry. This slurry undergoes further processing to eliminate water and impurities, resulting in a uniform mixture. Usually, the pulp is spread out and dried to form new sheets of paper, but in Chen's approach, he manipulates the black slurp to resemble a paper sculpture in the shape of the original books. The paper obvioulsy differs significantly with textures, thicknesses, and qualities of paper that differ significantly from the originals. Through these meticulous techniques, Chen dissolve the texts into sculptures of paper pulps, exploring themes of cultural transformation and loss, and he offers a unique perspective on a culture he believes is eroding.\r The Four Books (四书) and the Five Classics (五经) refer to the Confucian classics, essential texts in Confucianism that cover a wide range of topics such as ethics, governance, and philosophy. The Four Books are Chinese classic texts selected by Zhu Xi in the Song dynasty, as an introduction to Confucianism. They include the Great Learning (Da xue 大学), The Analects of Confucius (Lunyu 论语), The Doctrine of the Mean (Zhongyong 中庸), and the Mencius (Mengzi 孟子).\r The Five Classics is a corpus of five ancient Chinese books used by Confucianism as the basis of studies. According to tradition, they were compiled or edited by Confucius himself. They are: Classic of Changes (Yijing 易经), Classic of Poetry (Shijing 诗经), Book of Rites (Liji 礼记), Book of Documents (Shujing 书经) and Spring and Autumn Annals (Chunqiu 春秋)."""@en ; write:hasVisualArtworkType ; write:hasSeal false ; write:madeUsingTool . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Continuously Spreading Event and Balls of Characters Combinations (连续扩散时间：字球组合)"@en, "连续扩散时间：字球组合"@zh, "Liánxù kuòsàn shíjiān: Zì qiú zǔhé"@zh-Latn ; wdt:P1640 ; wdt:P276 ; wdt:P580 "1992-08-20"^^xsd:date ; wdt:P582 "1992-08"^^xsd:gYearMonth ; write:description """The exhibition "Continuously Spreading Event and Combinations: Balls of Characters", curated by Fan Di'an, took place at the Art Gallery of Beijing International Art Palace (Beijing Guoji Yiyuan Meishuguan 北京国际艺苑美术馆) on August 20, 1992.\r In this exhibition Wang Nanming introduced the concept of Balls of Characters to the public for the first time. Alongside his artwork, Wang Nanming presented a video providing insights into the origins of the piece and the techniques used in its installation to allow viewers to explore the artistic process and the underlying message.\r Following this exhibition, Wang Nanming continued to experiment the spheres with various arrangements. The artist realized several innovative compositions. For example, he placed them on significant landmarks like the ruins of the Old Summer Palace, adding layers of meaning to his artwork by juxtaposing ancient history with modern artistic expression. Wang Nanming also elaborated and incorporated his "Balls of Characters" into his artistic vision realizing cascading installations and functional furniture to furnish entire rooms."""@en ; write:exhibitedArtwork . a write:TraditionalArtwork ; wdt:P1343 "Iezzi, A. (2019) The Kwanyin Clan Modern Literati Graffiti Writers. An Aesthetic and Text Analysis of Their Main Artworks, Annali di Ca’ Foscari. Serie orientale, n. 55, pp. 395-448: https://edizionicafoscari.unive.it/media/pdf/article/annali-di-ca-foscari-serie-orientale/2019/55/art-10.14277-AnnOr-2385-3042-2019-01-013_XWgnTc2.pdf"@en ; wdt:P1476 "Travelers Among Mountains and Streams (溪山行旅图)"@en, "溪山行旅图"@zh, "Xī shānxíng lǚ tú"@zh-Latn ; wdt:P170 ; wdt:P571 "1000"^^xsd:gYear ; write:description "\"Travelers among Mountains and Streams\" is a large hanging scroll (ink and light color on silk, 206.3 x 103.3 cm, National Palace Museum, Taipei). The Author of Travelers Among Mountains and Streams is Fan Kuan 范寬 (ca. 950-1032), one of the most important Chinese landscape painters during the Song Dynasty. This painting is considered one of the finest monumental Chinese landscape paintings. It also became a model for later Chinese painters. Fan Kuan based his painting on the Daoist principle of becoming one with nature. The classic Chinese perspective of three planes is evident - near, middle (represented by water and mist), and far. Unlike earlier examples of Chinese landscape art, the grandeur of nature is the main theme, rather than merely providing a backdrop. A packhorse train can barely be seen emerging from a wood at the base of a towering precipice. The painting's style encompasses archaic conventions dating back to the Tang dynasty. The clusters of vegetation at the top of the tall mountain here are actually distant forests clinging to precarious perches. Running along the central axis of the scroll, the central mountain dominates the scene in a classic example of Northern Song monumental landscape painting. The rooftops of a building complex stand out in the right middle-ground. By the cluster of rocks in the right foreground is a path on which a mule train makes its way. A cascade as slender as silk falls from the heights above, culminating in the stream rushing down in eddies towards the foreground. From near to far, Fan Kuan has described with realistic detail the solemn grandeur of a majestic landscape. Fan Kuan rendered the mountains and slopes with jagged outline strokes and filled them with brush dabs like raindrops – techniques that highlight the monumental and eternal features of the mountains. To the right of the mule train, among the leaves, is the signature of Fan Kuan, a final touch by an artist to epitomize the insignificance of humans (including himself) compared to Nature. The signature was discovered by Li Lincan (李霖燦), a scholar at the National Palace Museum in Taipei, on August 5, 1958."@en ; write:hasTraditionalArtworkType ; write:hasWikidataResource . a write:TraditionalArtwork ; wdt:P1343 "Iezzi, A. (2019) The Kwanyin Clan Modern Literati Graffiti Writers. An Aesthetic and Text Analysis of Their Main Artworks, Annali di Ca’ Foscari. Serie orientale, n. 55, pp. 395-448: https://edizionicafoscari.unive.it/media/pdf/article/annali-di-ca-foscari-serie-orientale/2019/55/art-10.14277-AnnOr-2385-3042-2019-01-013_XWgnTc2.pdf"@en ; wdt:P1476 "A Thousand Li of Rivers and Mountains (千里江山图)"@en, "千里江山图"@zh, "Qiānlǐ jiāngshān tú"@zh-Latn ; wdt:P170 ; wdt:P571 "1113"^^xsd:gYear ; write:description "\"A Thousand Li of Rivers and Mountains\" was painted by Wang Ximeng 王希孟 (1096-1119), one of the most renowned court painters of the Northern Song period (960-1126). This painting is one of the largest in Chinese history, and the only Wang’s surviving work. The painter used blue and green mineral colours for decoration, so this genre of painting is known as ‘blue and green landscape’ (qinglü shanshui 青绿山水). This technique was a recognised form of painting as early as the seventh century. The painting, finished by Wang when he was only 18 in 1113, has been described as one of the greatest works of Chinese art. It is in the permanent collection of the Palace Museum in Beijing. The scroll's size is 51.5 by 1191.5 cm. The scenery in the painting was later identified as Mount Lu and Poyang Lake in Jiujiang. Wang Ximeng used typical technique of multiple perspectives, painting mountainous landscapes naturally separated into six sections by bridges and water. Mountains were described as being in the style of Southern China; it can indicate that Wang Ximeng was from that region."@en ; write:hasTraditionalArtworkType ; write:hasWikidataResource . a write:TraditionalArtwork ; wdt:P1343 "Iezzi, A. (2019) The Kwanyin Clan Modern Literati Graffiti Writers. An Aesthetic and Text Analysis of Their Main Artworks, Annali di Ca’ Foscari. Serie orientale, n. 55, pp. 395-448: https://edizionicafoscari.unive.it/media/pdf/article/annali-di-ca-foscari-serie-orientale/2019/55/art-10.14277-AnnOr-2385-3042-2019-01-013_XWgnTc2.pdf"@en ; wdt:P1476 "Dwelling in the Mountains (山居图)"@en, "山居图"@zh, "Shānjū tú"@zh-Latn ; wdt:P170 ; write:description "The Author of \"Dwelling in the Mountains\" is Qian Xuan 钱选 (1235-1305), a Song loyalist painter during the last period of the Southern Song Dynasty (1127-1279) and of the first period of the Yuan Dynasty (1271-1368). "@en ; write:hasTraditionalArtworkType . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , , ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 New Style (KYGS)" ; write:description "This Calli-Writing Unit is a lettering piece \"KYGS\" written in a very complex wildstyle, with lots of 3D effects, that seems to reproduce the knottiness of the bamboos. The interlocking letters involved in the piece KYGS are an acronym of \"KwanYin Graffiti Studio\", and also their colors (from light green to very dark green) are very similar to bamboos. The use of green recalls the tradition of Western realism, based on a steadfast devotion to color truth. At the same time, the various shades of green also remind the greenish patina of ancient \"Chinese bronze vessels\" (qingtongqi 青铜器). According to EricTin: \"The source of inspiration of New Style is ancient Chinese bronze ware\" (EricTin 2008). This is evident not only in the choice of colors, but also in the \"angularity\" of the lettering piece \"patterned with ridges\" that replaces the typical ribbed surface of bronze vessels."@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine false ; write:hasColophon false ; write:hasGraffitiStyle , , , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:relatedUnit ; write:transcriptionAndTranslation " KYGS (KwanYin Graffiti Studio) "@en . a wd:Q17514 ; wdt:P1476 "Please no graffiti (请勿涂鸦) "@en, "请勿涂鸦"@zh, "Qǐngwù túyā"@zh-Latn ; wdt:P170 ; wdt:P180 , ; wdt:P186 , ; wdt:P276 ; wdt:P462 , , , , , , , , ; wdt:P571 "2020"^^xsd:gYear ; wdt:P6375 "Jingmi Road, Beijing."@en ; wdt:P941 ; sch:thumbnailUrl ; write:description "This is a Li Qiuqiu artwork made in 2020 with Corw, depicting the expression \"Qingwu tuya 请勿涂鸦 (Please no graffiti)\". The piece has a distinctly political orientation as it was created on Jingmi Road, Beijing's most important hall of fame for some time now, and once home to numerous graffiti. Later, these were all buffed by the government and replaced by a long, grey and anonymous wall dotted with the black stencil inscriptions \"Qingwu tuya 请勿涂鸦 (No graffiti)\" posted by the government itself. As an act of protest, Li Qiuqiu and Corw decided to paint graffiti with the same text, but using bright colours and fun animations so as to brighten the blank wall that had once been the heart of a shared creativity. As a result of this act of artistic rebellion, many other writers followed suit, once more filling the wall with graffiti: a fine example of a peaceful protest with spray cans. "@en ; write:hasChengyu false ; write:hasColophon false ; write:hasGraffitiGenre , ; write:hasGraffitiStyle ; write:hasGraffitiType ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P144 , ; wdt:P180 , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 New Style (《咏竹》)" ; write:description """This Calli-Writing Unit is a couplet from a poem and is written in xingcao 行草 style, a style of handwriting between the running (xing 行) hand and the cursive (cao草) hand. In fact, it seems to reproduce running script tending to cursive forms because of the presence of long traits linking successive characters.\r The two lines quoted by EricTin are from a poem entitled "On Bamboo" (Zhu 竹). The author of this poem is Zheng Xie 郑燮 (1693-1765), commonly known by his pseudonym as Zheng Banqiao 郑板桥, a famous poet, painter and calligrapher of the Qing Dynasty (1644-1911). He was particularly able to draw bamboos and his unique technique usually combines painting and calligraphy. According to the content of this poem, in his paintings, the bamboo trunks, stems and leaves are usually lean but strong, so embodying the playfulness and spontaneity of a "man of letters". The couplet by Zheng Xie is paraphrased from the third and fourth lines of another poem composed by the Song poet Xu Tingyun 徐庭筠 (1095-1179) entitled "Ode to Bamboo" (Yong zhu 咏竹).\r There are slight differences between the original poem by Zheng Xie and the Kwanyin Clan version. The original couplet is: Wei chutu shi xian you jie ǀ ji lingyun chu shang xuxin 未出土时先有节, 及凌云处尚虚心. So, in the Kwanyin Clan version, i) the fourthcharacter shi 时 (when) has been replaced by the character qian 前 (before); ii) the character ji 及 (and), that is the first character of the second verse, has been delated; iii) before the character chu 处 (place), the character shen 深 (deep) has been added; and iv) the character shang 尚 (esteem) has been replaced by the character zong 总 (always). Despite these differences, the content of the two poems is very similar. Kwanyin Clan probably changed these few characters because they wanted to underline its intention to create a personal style deeply rooted in the past tradition. Even if there are also some little differences among the three versions of the couplet, all of them focus on the qualities of the perfect literati (junzi) symbolised by the bamboo. The bamboo, in fact, grows straightly and keeps green in winter (wei chutu qian xian you jie 未出土前先有节), which is an indication of its firm and tenacious character; it is hollow inside (wu xin 无心 "without a core"), so it is regarded as "honest and upright" (xu xin 虚心); and even in winter, its leaves rustle in the wind, "reaching the clouds" (lingyun 凌云), while it still stands straight on its deep roots (shenchu zong 深处总), symbolising great modesty (xu xin). The depiction of the bamboos and the transcription of the couplet are two expedients to create a connection between the ancient Chinese literati-painters, who were used to painting bamboo and composing poems on his gentleman qualities, and the contemporary Chinese graffiti writers (such as EricTin and Natuo), who can do exactly the same things (as demonstrated in New Style), but using different modern tools (spray painting on wall). Viewed in this light, also the chain of citations triggered by the couplet is another erudite device to link the past to the present. In this work, the link to the past tradition is also underlined by the simultaneous use of painting, calligraphy, and poetry, the so-called "three perfections" (sanjue 三绝).\r """@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 14 ; write:relatedUnit ; write:transcriptionAndTranslation """Buried in the earth it already has a culm,\r reaching into the sky it is still open-minded.\r (Translator: Shinewind 2012)\r """@en, """Nocchieruto, integro, ritto e retto, \r ancor prima di germogliare.\r Carezza le nuvole, penetra il profondo, \r ma inamovibile onesto rimane.\r (Translator: A. Iezzi)"""@it, """未出土前先有节, \r 凌云深处总虚心."""@zh, """Wèi chūtǔ qián xiān yǒu jié, \r língyún shēn chù zǒng xūxīn."""@zh-Latn . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , , , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Society (社会)" ; write:description """This Calli-Writing Unit, on the right-hand corner of the piece, is composed of two characters Shehui 社会 (Society). Shehui 社会 is the name of the brand linked to the world of skateboarding that Li Qiuqiu founded in 2001 with other friends. The purpose of the brand was promoting events, activities and products connected with spreading this sport in China along with its related cultural industry. \r The two Chinese characters on the right stand out on a background of blue bubbles, the same colour as the tag: the fill-in is light blue, the outline is white, and the depths are blue. The writing style used for the Chinese characters is geometric and reminiscent of “regular script” (kaishu 楷书), an easily intelligible calligraphic style where each stroke is distinct and discernible. All elements are reminiscent of aquatic settings. Thus, through the marine atmosphere, Li Qiuqiu seems to disclose a world in which everything – waves, bubbles, architecture, walls, street art – is fluid and fleeting, while also granting a touch of liveliness to the composition, as we occasionally find in his graffiti."""@en ; write:directionality "Modern" ; write:hasBackgroundColour , , ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine false ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:relatedUnit ; write:transcriptionAndTranslation "Society"@en, "社会 "@zh, "Shèhuì"@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , , ; wdt:P19 ; wdt:P20 ; wdt:P21 ; wdt:P2561 "Gabriele Amadori" ; wdt:P27 ; wdt:P453 ; wdt:P569 "1945"^^xsd:gYear ; wdt:P570 "2015"^^xsd:gYear ; wdt:P812 , ; wdt:P937 ; write:description "Gabriele Amadori was an Italian artist, set designer and director. Since the seventies he has started a synaesthetic research on the image of sound, developing his investigation through numerous action paintings with some of the best contemporary Italian and international musicians."@en ; write:hasCalligraphicTraining "Not present"@en ; write:hasWikidataResource . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Sans Papier - Song Papier (没有身份)" ; write:description "This CWU is part of the performance \"Sans Papier - Song Papier\" which took place on 30 May 2011 in the Carlo de Carli room of the Milan Bovisa Campus (Polytechnic of Milan) as the inaugural event for the exhibition “Sans papier/son papier ” (held from 27 May to 14 July 2011). It consists of seven Chinese characters written in black ink by Ferragina. The four characters are \"mei you shenfen 没有身份\" (there is no identity) and they are realized in seal style."@en ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:relatedUnit ; write:transcriptionAndTranslation "There is no identity"@en, "没有身份"@zh, "Méiyǒu shēnfèn"@zh-Latn ; write:vectorisedOrDigitised false . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Ferragina – Cerino Heart Sutra : The Music of the Chinese Calligraphy (色不異空...)" ; write:description "This CWU is part of the performance \"Ferragina – Cerino Heart Sutra : The Music of the Chinese Calligraphy (塞尔维奥&亚历山得罗：心经 - 中国书法的音乐)\" which took place at the Hangzhou Conservatory on October 20, 2016. Silvio Ferragina wrote in not simplified characters and in regular script, the characters that composed the fundamental part of the Heart Sutra, namely: \"Sè bù yì kōng, kōng bù yì sè; sè jí shì kōng, kōng jí shì sè色不異空，空不異色； 色即是空，空即是色\" (Form is no different from emptiness, emptiness is no different from form, form is just such emptiness, emptiness is just such a form). The characters are written from top to bottom and from right to left. The four fundamental characters that emerge are precisely \"色不異空\" which highlight the formulation of the doctrine of \"emptiness\" (or literally: \"emptiness\") or the insubstantiality (or intrinsic non-existence) of all phenomena."@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 18 ; write:transcriptionAndTranslation """Form is no different from emptiness, \r emptiness is no different from form. \r Form is just such emptiness, \r emptiness is just such a form.\r \r Silvio Ferragina"""@en, """色不異空\r 空不異色\r 色即是空\r 空即是色\r \r 達利"""@zh, """Sè bù yì kōng\r kōng bù yì sè \r sè jí shì kōng \r kōng jí shì sè\r \r Dálì"""@zh-Latn . a wd:Q184485 ; wdt:P1476 "Beyond Calligraphy (临池舞墨)"@en, "临池舞墨"@zh, "Línchí wǔ mò"@zh-Latn ; wdt:P175 ; wdt:P180 , , , , , , , , , ; wdt:P2047 "PT1H10M"^^xsd:duration ; wdt:P276 , ; wdt:P585 "2011-03"^^xsd:gYearMonth ; wdt:P856 ; wdt:P941 , , , ; write:description """This performance is realized by the female choreographer Liu Qi 刘琦, and consists of like a poem of movements that originate from the different styles of Chinese calligraphy: from slow and delicate movements to sinuous, fast, and expressive gestures; and from the oracle bones script style to the wild cursive, in an uninterrupted, changing, and iridescent flow. Since its premiere in 2005, “Upon Calligraphy” has been invited to perform and tour continuously and has become one of the most popular repertoires in the corps de ballet. In 2011, the choreography expanded and today the piece is known as “Beyond Calligraphy” (Linchi wu mo 临池舞墨). The debut took place at the Friendship Theatre of Guangzhou on March 3, 2011, and then in Beijing on March 13 and 14, 2011. Liu Qi has further developed the work from a forty-three-minute work to approximately seventy minutes in length. The first part of the piece retains the dance structure of the calligraphy representations always called “Upon Calligraphy”, while a new epilogue is added, called “Ink Wash Landscape” (Shan shui 山水) which pays homage to the spiritual essence of ink wash painting. The two-act production suggests a journey from mechanical, assertive, and staccato choreography in the first half, to a multimedia second half. The music, composed by Dickson Dee (Li Chin Sung 李勁松, b. 1969), matches the dancers’ movement qualities with clanging sounds, squeaks, and rattles in the first act, followed by more harmonious and soothing acoustics after intermission. Costumes feature monochromatic ensembles, with the cast of thirteen dancers in either black, white, brown, or grey outfits. These colours recall both calligraphy (black of ink and white of paper) and also the bronze or grey stone supports, typical of jiaguwen or inscriptions on steles. The production’s projections reinforce the contrasts of the two-part structure of “Beyond Calligraphy”, juxtaposing robotic and acrobatic interactions during the first half with more sensuous, slow-moving montages in part two. The first part of the performance begins with Chinese characters engraved on oracle bones, projected scrolling onto the background. The performance continues with characters in small seal script, clerical script, regular script, and cursive script. The dancers perform very technical and acrobatic movements that reproduce the character traits, such as bent knees, flexed feet and arms that form perpendicular angles.\r \r In the second half of the performance, entitled “Ink Wash Landscape”, the projections instead present natural landscapes such as mountains, trees, and water. Sometimes these images merge with the dancers' bodies, making their torsos appear to be imprinted with Chinese characters or camouflaged with flowering trees. This second act tests the dancers’ ability to move as slowly as possible. The dancers wear long white dresses, thus enhancing the meditative quality of this section. After having told the story and the evolution of writing through the body and movement, in this second part of the performance dancers let themselves be immersed in nature; for them, it means letting go completely after appreciating the charm of the rhythm. In the dance of Shanshui, “the real highlight is the movements expressed by the dancers, silently showing the body lines that naturally grow in the mountains and rivers, symbiotically dipping between heaven and earth”. The “roots” of the dancers are their feet which pierce the ground beneath them and the branches reaching towards the sky are their arms, thus opening their body to breathe and absorb the essence of nature. There are no “technicisms” in the movements, it's just a feeling that passes through the body. Borrowing San Yu’s (Chang Yu 常玉, 1901-1966) paintings as an example, the tension of lines that he expressed when he introduced Chinese brushwork into Western oil paintings clearly emerges. With this final, one could almost think of a “temporal circle” that opens with the oracle bones inscriptions, which arise from the observation of natural phenomena, until arriving, after having experimented with different forms of writing, at the highest point that it means for man reconnect with nature itself.\r \r Over the past twelve years, more than 100 performances have been performed in Denmark, Poland, the USA, Canada, the Netherlands, Russia, Italy, Germany, Belgium, Switzerland, and other countries. One example is at the Edinburgh Fringe Festival on 12 August 2017."""@en ; write:hasChineseConcept , ; write:hasChineseVisualElement , ; write:hasMusicStyle , ; write:hasPerformingArtworkType ; write:madeUsingTool wd:Q23852 . a wd:Q464980 ; wdt:P10661 , , ; wdt:P1476 "First Exhibition of Chinese Modern Calligraphy (中国现代书法首展)"@en, "中国现代书法首展"@zh, "Zhōngguó xiàndài shūfǎ shǒu zhǎn"@zh-Latn ; wdt:P276 ; wdt:P580 "1985-10-15"^^xsd:date ; wdt:P582 "1985-10-30"^^xsd:date ; wdt:P664 ; write:description "The \"First Exhibition of Chinese Modern Calligraphy\" was held in 1985 at the National Art Museum of China and marks the birth of modern Chinese calligraphy and the modernist movement. It features a total of 72 works by 26 artists from the \"Chinese Modern Calligraphy and Painting Association\" (Zhongguo xiandai shuhua xuehui 中国现代书画学会) founded in October 1985. Among the most important artists featured in the exhibition are Huang Miaozi 黄苗子 (1913-2012), Zhang Ding 张仃 (1917-2010), and Li Luogong 李骆公 (1917-1992), together with other artists such as Gu Gan 古干 (1942-2020), Wang Xuezhong 王学仲 (1925–2013), Ma Chengxiang 马承祥 (b. 1937), and Dai Shanqing 戴山青 (1944-2004), who were also the promoters and organizers of the exhibition. Other notable artists are Wang Naizhuang 王乃壮 (1928-2024), Zhu Naizheng 朱乃正 (1935-2013), Su Yuanzhang 苏元章 (1924-2002), Xie Shengpei 谢盛培 (1929-2021), Zuo Hanchao 左汉桥 (b. 1946), Deng Yuanchang 邓元昌 (b. 1939), Xu Futong 许福同 (b. 1944), Yan Binghui 阎秉会 (b. 1956), and Lin Xinchen 林信成 (b. 1952). Other artists participating in the exhibition are Peng Shiqiang 彭世强, Xie Deping 谢德萍, Gao Mang 高莽, Yu Ren 于人, Wang Ding 王宁, Du Zhongxin 杜中信, Wu Chuanlin 吴传麟, Zhang Hu 张虎, Gao Shouquan 高寿荃, and Hou Dechang 侯德昌."@en ; write:exhibitedArtwork , . a write:CalliWritingUnit ; wdt:P1480 ; wdt:P180 , , , ; wdt:P186 ; wdt:P282 ; wdt:P462 , , , , , , , , ; wdt:P9302 , , , ; write:attributedTitle "CWU1 Living Word (鸟）" ; write:description "This CWU consists of a series of plexiglass cutouts of the various forms of the character niao 鸟 (bird), from the most ancient forms, such as “oracle bone script” (jiaguwen 甲骨文) and seal style (zhuanshu 篆书) to the modern standard, in which each form is rendered with a different color. Rising into the air, the character gradually changes from its simplified modern form to non-simplified traditional forms written in different calligraphic styles and finally to the ancient Chinese pictograph for “bird”."@en ; write:directionality "Free" ; write:hasCalligraphicLine true ; write:hasCharacterForm , ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; write:isUnitOf ; write:numberOfCharacters 400 ; write:relatedUnit ; write:transcriptionAndTranslation "Bird"@en, "鳥"@zh, "鸟"@zh, "Niǎo"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 The Invisible Words: A GPS Calligraphy Project (世)" ; write:description "This CWU consists of the Chinese characters created through GPS tracking on the roads of Beijing, as Part 1 of the Running Script - GPS Calligraphy Project. In this phase, Feng Mengbo created characters in Regular Script, such as shì 世 (world), driving along the long streets within the urban landscape of Beijing. The process involves detailed study and planning of the characters, including the marking of waypoints and mapping the path to form the blueprint for the driving route. This route, meticously programmed into a GPS navigation system, guides the driver along the path designated by the artist. Simultaneously, the artist employs a separate GPS device to record and collect data on the vehicle's trajectory, capturing the creation of each character in real-time."@en ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasCalligraphicLine false ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:numberOfCharacters 1 ; write:relatedUnit ; write:transcriptionAndTranslation "world"@en, "世"@zh, "shì"@zh-Latn ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 The Invisible Words: A GPS Calligraphy Project (太平)" ; write:description "This CWU consists of the Chinese characters created through GPS tracking on the water of the bay of Brisbane, Australia, as Part 2 of the Running Script - GPS Calligraphy Project. In this phase, Feng Mengbo created characters in Running/Cursive Script, navigating with a motorboat along the bay in Brisbane. The process involves detailed study and planning of the characters, including the marking of waypoints and mapping the path to form the blueprint for the navigation route. The path, meticously programmed into a GPS navigation system, guides the boat driver along the path designated by the artist. Simultaneously, the artist employs a separate GPS device to record and collect data on the boat's trajectory, capturing the creation of each character in real-time."@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:numberOfCharacters 2 ; write:relatedUnit ; write:transcriptionAndTranslation "Peace / Pacific"@en, "太平"@zh, "Tàipíng"@zh-Latn ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Overturning the Mountains (山摧)" ; write:description "Thic CWU consists of two large characters as foreground text: “山” (shan) meaning \"mountain\" in the upper left-hand corner a large character and “摧” (cui) meaning \"destruction\" or \"overturning.\" The visual arrangement suggests a dynamic interaction between the two, with \"mountain\" (shan 山) looked as if it were being overturned by the force of the other main character \"overturning\" (cui 摧). These two characters are part of a poem by Li Bai 李白 (701-762) entitled Shu dao nan 蜀道難 (The Hard Road to Sichuan), partially written around the big character \"山\" in a very free composition. The characters \"山摧\" appear in the first of these two verses. "@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:relatedUnit ; write:transcriptionAndTranslation """The Mountains Are Breaking Up \r """@en, """山摧\r """@zh, """Shān cuī\r """@zh-Latn . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Void - Flow (空·流)"@en, "空·流"@zh, "Kōng·liú"@zh-Latn ; wdt:P170 ; wdt:P186 ; wdt:P2048 "1.2 m" ; wdt:P2049 "6 m" ; wdt:P2610 "2.5 m" ; wdt:P462 ; wdt:P571 "2018"^^xsd:gYear ; sch:thumbnailUrl ; write:description """The exhibition "WORDS & SILENCE, Poetry and Philosophy in Calligraphy, QIU Zhenzhong" (Yu · Mo / Qiu Zhenzhong: Shuxie zhong de shi yu zhexue 语·默 / 邱振中：书写中的诗与哲学) marks the debut of Qiu Zhenzhong's large-scale installation piece "Void - Flow" measuring 6×2.5×1.2 meters. The uniqueness of the piece lies in the deflection of its components, which creates a twist between lines and surfaces, setting it apart in both structural principle and visual effect from existing works. It explores spatial continuity and the twisting of lines, offering an innovative experience.\r "Void·Flow" can be seen as an interpretation of the artist's handwriting. Through this visual language, the artist not only conveys their creative concept but also invites the audience to contemplate the relationship between space, lines, and artistic expression. The work's innovation lies in its ability to merge these elements into a cohesive and thought-provoking installation.\r \r """ ; write:hasVisualArtworkType ; write:hasSeal false ; write:hasUnit ; sch:image . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 Shanghai be strong (Rest in peace)" ; write:description "This Calli-Writing Unit consists of three inscriptions: \"Rest in Peace,\" \"R.I.P.,\" and \"Shanghai be strong\" in Latin letters inside an orange scroll banner. On the sides of the scroll banner, there is a black funeral ribbon on the right and a peace dove (painted in bubble style) on the left."@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine false ; write:hasGraffitiStyle , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool , , ; write:relatedUnit ; write:transcriptionAndTranslation "R.I.P."@en, "Rest in Peace "@en, "Shanghai be strong"@en . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Qian (千字文)"@en, "千字文"@zh, "Qiān zì wén"@zh-Latn ; wdt:P170 ; wdt:P186 , ; wdt:P2048 "280 cm" ; wdt:P2049 "139 cm" ; wdt:P462 , , ; wdt:P571 "2008-11"^^xsd:gYearMonth ; wdt:P941 ; sch:thumbnailUrl ; write:description """"Qian" is an artwork created by Tang Kaizhi in 2008. The title of the work is inspired to the Thousand Character Classic (Qianziwen 千字文) and it is one of the artworks included in the "New Tang Book" (Xin Tang Shu 新唐书), developed during the artist's doctoral studies. \r Measuring 280 x 139 cm, the piece is made with white xuan paper and accumulated ink, a technique involving the repeated layering of ink to write the single character "thousand" (qian 千) for a thousand time throughout the surface. The piece is named "Thousand Character Classic" not for its educational content, as the title would suggest, but for its visual tension using the structure of the character "thousand". In commentary on the piece, Tang Kaizhi noted: “What I want to convey is that my work is not a form of contemporary ink painting. In other words, I am not a noble ink artist. I once aspired to be such an artist, like the master Huang Binhong whom I admire, but I no longer think this way. I believe it is not important what category my work falls into. Through the long process of repeatedly creating with the same element, I have greatly improved and refined my technique and concepts. Whether these works are 'modern calligraphy' or 'abstract art', they might be either or neither. Contemporary art encompasses diverse characteristics, and the contemporary art scene is open and free. Artists' creations and thoughts are constantly changing and enriching. I hope my works are unprecedented and original, though I know this is impossible. They will inevitably be studied, categorized, and evaluated.”\r This artwork was exhibited at the second “Writing Non-Writing” exhibition in Hangzhou in 2010. """ ; write:hasVisualArtworkType , , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q7725634 ; wdt:P1476 "Thousand Character Classic (千字文)"@en, "千字文"@zh, "Qiānzìwén"@zh-Latn ; wdt:P1480 ; wdt:P50 ; wdt:P571 "0600"^^xsd:gYear ; write:description "The \"Thousand Character Classic\" (千字文) is a Chinese poem composed during the Liang Dynasty by the scholar Zhou Xingsi. It consists of 1,000 unique characters, each used only once. Originally created as a tool for learning Chinese characters, it was adopted as content for an unlimited number of calligraphic works by famous calligraphers over the centuries. The content covers a wide range of topics, including natural phenomena, historical events, moral principles, and everyday knowledge." ; write:hasWikidataResource . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Dream of flowers, plants, and the three world ages in Suzhou (三生花草梦苏州)"@en, "Sognando fiori, piante e le tre età del mondo a Suzhou"@it, "三生花草梦苏州"@zh, "Sān shēng huācǎo mèng sūzhōu"@zh-Latn ; wdt:P170 ; wdt:P186 , , ; wdt:P2048 "75 cm" ; wdt:P2049 "140 cm" ; wdt:P462 , , , , , , ; wdt:P571 "2009"^^xsd:gYear ; write:description "The later works of Huang Miaozi, such as \"Dream of flowers, plants, and the three world ages in Suzhoud\", incorporate the style of Zhou Dynasty bronze script, revitalized through the use of bright colors and geometric patterns reminiscent of Australian Aboriginal art, which he had the opportunity to observe during his residency in Australia in 1989, and from 1994 until his death in 2012." ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a wd:Q7725310 ; wdt:P1476 "Hidden Ink Calligraphy (隐墨书)"@en, "隐墨书"@zh, "Yǐn mò shū"@zh-Latn ; wdt:P170 ; wdt:P580 "2011"^^xsd:gYear ; sch:thumbnailUrl ; write:description " In the realm of Chinese contemporary art, Wang Yong is reknowned for his \"Hidden Ink\" (Yin mo 隐墨). In 2011, he named his works \"Hidden Ink,\" using 'chan (禅)' as a methodology and applying 'chan' approaches to contemplate and address issues. In his works, characters are rendered in a light, elegant, and hazy style, reflecting the artist’s exploration of the aesthetic possibilities of ink and script. According to Gao Tianmin: \"For Wang Yong, the concept of \"Yin\" (隐, concealment or obscurity) carries a certain philosophical significance—one that exists between Eastern and Western thought, exploring and contemplating the essence of phenomena through the intertextuality and complementarity of phenomenology and Daoism. However, what he engages with is not the physical object itself but rather the cultural and artistic existence of the “object”." ; sch:image ; write:includesArtwork . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Cai Mengxia 蔡梦霞" ; wdt:P27 ; wdt:P569 "1972"^^xsd:gYear ; wdt:P800 ; wdt:P937 ; sch:thumbnailUrl ; write:description """Cai Mengxia is a contemporary Chinese calligrapher. Cai Mengxia is currently an associate professor at the School of Chinese Painting, Central Academy of Fine Arts in Beijing. She is a member of the Women's Work Committee of the China Calligraphers Association. Cai Mengxia was born in 1972 in Nanning, Guangxi. In 1989, she began studying calligraphy under Chen Guobin and Zhang Yuxiang. Thanks to their guidance, in 1993 she participated in the "Fifth National Exhibition of Calligraphy and Seal Engraving for Young Artists", where she emerged as one of the winners (the only woman). This event made her a key figure, and the only woman involved in the so-called "Guangxi Phenomenon," associated with this exhibition and named because four of the ten winners came from the Guangxi region. She was also the only woman to be part of the so-called "School of Academics," a movement inaugurated in 1994. The school held its first group exhibition in Korea in 1997 and then in China in 1998, first in Beijing and later in Hangzhou, thus marking its official establishment. Cai Mengxia obtained a bachelor's degree in calligraphy from the China Academy of Art (CAA) in Hangzhou in 1997, and a master's degree from the China Academy of Fine Arts (CAFA) in Beijing in 2005, under the supervision of Professor Wang Yong. In 2008, also at CAFA, she received her Ph.D. with Professors Xue Yongnian and Wang Yong as her advisors. Cai Mengxia received the first doctorate in calligraphy ever awarded to a woman in the People's Republic of China, marking a significant milestone in the history of Chinese calligraphy. From 2008 to 2010, she conducted postdoctoral research at the Academy of Arts & Design at Tsinghua University, collaborating with Professor Du Dakai. \r Her artistic achievements include first prize at the 5th National Calligraphy and Seal Engraving Exhibition, and participation in the 4th and 7th editions of the same, as well as in the first three "Popular Calligraphy Style" and "Popular Seal Style" Invitational Exhibitions. Cai is also the author of "Wei Jin shufa shijue xingshi yanjiu" (Research on the Visual Forms of Wei and Jin Dynasty Calligraphy), further contributing to academic and artistic dialogues in her field.""" ; write:hasCalligraphicTraining "Academic"@en ; sch:image . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Su Yuanzhang 苏元章 " ; wdt:P27 ; wdt:P569 "1924-11-02"^^xsd:date ; wdt:P570 "2002-10-19"^^xsd:date ; wdt:P742 "Su Yuan 苏原" ; wdt:P800 ; wdt:P937 ; write:description """Su Yuanzhang, also known as Su Yuan 苏原, was a Chinese calligrapher born in 1924 in Luxian County, Sichuan Province. He graduated from the Law Department of Chongqing University in 1950. Immersed in a rich family tradition from an early age, Su Yuanzhang developed a passion for calligraphy and studied the masterpieces of Ouyang Xun, Wang Xizhi, and Zhao Mengfu, as well as the steles and calligraphic inscriptions from the Han and Wei dynasties.\r Specializing in the running script (xingshu 行书), Su Yuanzhang is celebrated for his ability to blend traditional aesthetics with innovative techniques. His works are characterized by a disciplined form and an elegant, unrestrained grace. Since 1985, his calligraphy has been featured in numerous prestigious exhibitions. His works have been included in the "Modern Calligraphy Works Anthology" (Xiandai shufa zuopin xuanji 现代书法作品选集). Su Yuanzhang was a member of the China Calligraphers Association, an executive council member of the Modern Calligraphy and Painting Society, and served as the chief editor of the Culture and Life Department at China Youth Daily.""" ; write:hasCalligraphicTraining "Familial"@en, "Self-Taught"@en . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P407 ; wdt:P462 , , ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 Society (0528)" ; write:description "This Calli-Writing Unit represents Li Qiuqiu's tag \"0528,\" symbolizing his birth date, May 28th. It is positioned between the head of a black man on the right and the two characters of his brand, Shehui 社会 (Society), on the left. This graffiti is executed in a 3D style featuring blue and light blue double depths without any fill-in. The tag is stroked by the large hand of the curly-haired character on the left, creating a sense of continuity between these elements. The coloring and the flowing nature of the writing evoke sea waves, while the drips beneath the number contribute to an aquatic ambiance."@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine false ; write:hasColophon false ; write:hasGraffitiStyle , , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:relatedUnit ; write:transcriptionAndTranslation "0528"@en, "May 28th"@en . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Mount Gushan 1 (孤山 1)"@en, "孤山 1"@zh, "Gūshān 1"@zh-Latn ; wdt:P170 ; wdt:P180 , , ; wdt:P2048 "32 cm" ; wdt:P2049 "163 cm" ; wdt:P462 , , ; wdt:P571 "2007"^^xsd:gYear ; wdt:P608 ; write:description "The digital artwork \"Mount Gushan 1\" is is a six-meter-long scroll inspired by the scenery around Mount Gushan (Solitary Hill) located in West Lake in Hangzhou, China. In this work Wang Tiande merges calligraphy, photography, and the use of destructive fire in a unique artistic approach. He arranges piles of ash from burned printed copies of renowned calligraphic texts, forming compositions that resemble traditional mountain landscapes. Although the calligraphy itself is not visible, its presence is subtly referenced in the labels provided by the artist. As Zheng Shengtian has observed, \"Every time Tiande burns paper, 'ashes of words' are left on the floor of his studio. Now, he piles up these ashes in the shape of mountains. Then, by using a camera and computer, he recreates remarkably life-like landscapes. At first glance, this might seem playful, but it actually embodies profound philosophical meanings. The ashes of traditional culture, reshaped by the artist, are infused with new life and vitality.\"" ; write:hasVisualArtworkType , , ; write:hasColophon false ; write:hasSeal false ; write:vectorisedOrDigitised true . a wd:Q215627 ; wdt:P103 ; wdt:P2561 "Chu Sang 楚桑" ; wdt:P27 ; wdt:P937 ; write:description "Chu Sang is an art critic and writer. He is based in Chengdu, Sichuan, where he organized together with Pu Lieping, Wei Ligang, and Yan Binghui the 1999 exhibition \"Bashu Parade\"" . a wd:Q4502142 ; wdt:P1071 ; wdt:P127 ; wdt:P1476 "The Age of Red and Gold (红金时代)"@en, "红金时代"@zh, "Hóng jīn shídài"@zh-Latn ; wdt:P170 ; wdt:P186 , ; wdt:P2048 "93.4 cm" ; wdt:P2049 "120.5 cm" ; wdt:P462 , , , ; wdt:P571 "2000"^^xsd:gYear ; sch:thumbnailUrl ; write:description """'The Age of Red and Gold' marked the advent of the new millennium, celebrating the success of China's reform movement over the past twenty years. The title is not intended only to summarize China's achievements so far; it also expresses the hope that the country will enter a new Golden Age in the twenty-first century (Barrass, 2002)\r 'The Age of Red and Gold' completes Gu Gan's trilogy on the theme of modern China, which began with 'Overturning the Mountains' (1995), followed by 'Opening Up' (1995).\r The paper itself represents China, its smoother area denoting the plains and the crumpled effect in the centre the mountains. Although the overall colour is red, its use has no political connotations: red is and has always been the traditional colour of celebration in China. The black characters make up the ancient form of the Chinese word for 'tree' ('shu'), with the smaller ones accompanied by dots meaning 'fruit' ('guo'); some of which have already ripened into an autumn gold, representing prosperity.""" ; write:hasVisualArtworkType , , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q7725310 ; wdt:P1476 "Blackism (黑色主义)"@en, "黑色主义系列"@zh, "Hēisè zhǔyì xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "1990"^^xsd:gYear ; wdt:P582 "1990"^^xsd:gYear ; sch:thumbnailUrl ; write:description """Blackism (Heise zhuyi 黑色主义) is one of Luo Qi’s most famous series and a prime example of Chinese "abstract calligraphic art." It marks the culmination of his experimental research on calligraphic lines, begun in 1986.\r Created in 1990, Blackism was among Luo Qi’s first series to receive international recognition. It aligns with the "modern calligraphy" movement that emerged in China from the mid-1980s.\r Within this movement, one key artistic direction sought to merge traditional calligraphic aesthetics with the abstract concept of graphic signs inspired by Western art. Luo Qi’s Blackism is one of successful examples of this synthesis. It resonates with the ideas of "anti-calligraphy" (fanshufa 反书法) and "non-calligraphy" (feishufa 非书法), which emerged in the early 1990s after three major exhibitions: the Shanghai Modern Calligraphy Exhibition (1991) and the First (1993) and Second (1995) Calligraphism Exhibitions in Zhengzhou and Weihai. \r These exhibitions redefined the boundaries between calligraphy and abstract art. In such works, Chinese characters are deconstructed, detached from their linguistic function. They were reinterpreted as pure visual expressions, emphasizing the aesthetic beauty of the calligraphic line and the expressive energy of the gesture.""" ; sch:image ; write:includesArtwork . a wd:Q464980 ; wdt:P10661 , , ; wdt:P1476 "First Exhibition of Calligraphyism (第一次书法主义展) "@en, "第一次书法主义展"@zh, "Dì yī cì shūfǎzhǔyì zhǎn "@zh-Latn ; wdt:P1640 ; wdt:P276 , ; wdt:P580 "1993-08-18"^^xsd:date ; wdt:P582 "1993-08-25"^^xsd:date ; write:description "The First Exhibition of Calligraphyism (di yi ci shufazhuyi zhan 第一次书法主义展) was an avant-garde exhibition held in 1993 at the Art Museum of Zhengzhou (Henan Zhengzhou meishuguan 河南郑州美术馆). It was conceptualized by Luo Qi in 1990 during a visit to Shanghai, before his departure for the United States. The exhibition took shape with the support of Bai Di 白砥, editor of the magazine Shufa Yanjiu, and the organizational help of Xing Shizhen and Xu Encun from Henan Normal University. Luo Qi wrote two texts for the exhibition: Introduction to the Doctrine of Writing Action (shufazhuyi daoyan 书写主义导言) and Manifesto of Calligraphyism (shufazhuyi xuanyan 书法主义宣言), which became title and guiding philosophy of the exhibition. The exhibition showcased a radical shift towards abstract calligraphy, where the traditional linguistic and structural components of Chinese characters were abandoned. The calligraphic strokes became free-form expressive marks, breaking the compositional, stylistic, and technical constraints inherited from tradition. Many artists participated to the exhibitions such as Luo Qi 洛齐, Bai Di 白砥, Xing Shizhen 邢世真, Zhang Qiang 张强, Shao Yan 邵岩, Li Qiang 李强, Ma Xiao 马啸, Xu Encun 徐恩存 and others. Notable pieces includeed were Xing Shizhen’s Untitled (Wu ti 无题), and Luo Qi's \"Why Are You Worried?\" (Weihe youlü 为何忧虑), a large ink-on-paper piece. However, the exhibition faced significant controversy and was shut down only a week after its opening in Zhengzhou, due to objections to the concept of \"calligraphyism\". Despite this, the exhibition gained wide media attention, and by 1994, major critics and scholars were discussing \"calligraphyism\" in journals like Shufa Bao." ; write:exhibitedArtwork . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Double Hook and Simple Heart (不生不灭不增不减)" ; write:description "This CWU consists of the eight characters created in a monumental scale by Hua Jun in his calligraphic work Double Hook and Simple Heart (Shuanggou Suxin 双钩素心). Using the traditional double-hook technique, he inscribed 8 characters from the Heart Sutra (Xīnjīng 心经) on eco-friendly covering film at Hangzhou’s Tianziling landfill. The phrase written by the artist in large characters, with simple, majestic strokes is \"Neither born nor perishing, neither increasing nor decreasing\" (Bù shēng bù miè, bù zēng bù jiǎn 不生不灭 不增不减), which derives from the key phrase in the Heart Sutra: \"Shariputra! All phenomena are empty, non-born, non-destructed, non-dirty, non-clean, non-increased, non-decreased\" (Shèlì zǐ! Shì zhū fǎ kōng xiāng bù shēng bù miè, bù gòu bù jìng, bù zēng bù jiǎn 舍利子！是诸法空相不生不灭，不垢不净，不增不减), from which he removed \"non-dirty, non-clean\". The eight characters are written in black ink with a large brush, using simplified characters (jianti zi 简体字) in Regular Script (kaishu 楷书). The characters are arranged in four vertical columns of hollow strokes, each column containing two characters following the traditional Chinese calligraphic direction—arranged in vertical columns from top to bottom, right to left. Each individual character spanned approximately 200 square meters, though their exact dimensions varied, and together they covered an expansive total area of around 3,000 square meters (Hua 2016: 115). These eight characters stand solid stand solid as mountains, inscribed upon the earth, upon a place where forgotten waste is buried. However, the writer is waiting for new filling and growth, awaiting the blooming of spring and the harvest of autumn, the shifting of stars, and the rotation of the heavens (Xu 2011: 9). " ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 8 ; write:transcriptionAndTranslation "\"Neither born nor perishing, neither increasing nor decreasing.\""@en, "不生不灭不增不减"@zh, "Bù shēng bù miè bù zēng bù jiǎn"@zh-Latn . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Black Series (黑色系列)"@en, "黑色系列"@zh, "Hēisè xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "1985"^^xsd:gYear ; wdt:P582 "1990"^^xsd:gYear ; sch:thumbnailUrl ; write:description "\"Black Series\" is a series of the late 1980s including abstract modern calligraphy produced in China by Wang Nanming. In his view, as well as being an elegant traditional system of writing and the basis of an evocative form of modern art, calligraphy could be regarded as representing the darker side of Chinese society (Barrass 2002, 251-252). He felt that over the centuries its purpose had been perverted in that it had been deployed as a mechanism for social control. Not only had the complexity of its scripts limited the spread of education and so blocked routes to privilege, but a cult of respect for calligraphic skills had been encouraged which ensured that the young deferred to their elders and the illiterate to the educated. This feeling of oppression has been captured in the 'Black Series', where the painted black spaces prevail on those kept plain white." ; sch:image ; write:includesArtwork . a wd:Q43229 ; wdt:P2561 "Amateur Architecture Studio" ; wdt:P276 ; wdt:P527 , ; wdt:P571 "1997"^^xsd:gYear ; write:description "Amateur Architecture Studio (founded in 1997 by Wang Shu and Lu Wenyu), based in Hangzhou, works with local traditions of craftsmanship, set against modern architectural grandeur in Chinese megacities. Their projects are shown at international exhibitions such as the Venice Biennale of Architecture (“Tiles Garden”, 2006, “Decay of a Dome”, 2010). Wang Shu has been granted many international awards such as the Pritzker Prize, and, together with Lu Wenyu, the Schelling Architektur Preis. They teach at the China Academy of Art in Hangzhou." . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Tian Xiang (天象)"@en, "天象"@zh, "Tiānxiàng"@zh-Latn ; wdt:P170 ; wdt:P180 , , , , , ; wdt:P186 ; wdt:P2048 "150 - 330 cm (each)" ; wdt:P2049 "150 - 330 cm (each)" ; wdt:P462 , ; wdt:P571 "2015"^^xsd:gYear ; wdt:P941 , ; write:description "Tian Xiang (天象) is an installation of 24 uniquely shaped stones, in different shapes and sizes ranging in size from approximately 150 cm to 330 cm. The 24 stones are engraved with the Chinese twenty-four solar terms (jieqi 节气), which divide the solar year into 24 two-week periods, such as jingzhe 惊蛰, or “insects awaken”, marking the first stirring of hibernating insects. Each stone reflects a unique aspect of the infinite universe, crafted from massive natural rocks sourced from the depths of the boundless sea near Shandong province, historically known as Lu 鲁, the birthplace of Confucianism. For this reason, the rocks are referred to as “ru rocks” (ru shi 儒石, meaning Rocks of Confucianism). The calligraphy wraps around each side of the ru rocks, revealing only one or a few strokes from any given angle. It is only through observing the entire installation that viewers realize each stone represents a distinct solar term, symbolizing the vastness of the universe. “The characters carved into the ru rocks are smooth on the surface but firm in essence, embodying timeless Oriental elegance, in a pursue of a perfect balance of stiffness and fluidity” (Gu 2018, 5). The uncoloured strokes are delicately carved into the rocks’ natural texture with gentle transitions, reflecting the artist’s intention to integrate Chinese views ofthe universe and daily life into these naturally shaped rocks. This work expresses a profound respect for nature, standing in contrast to the excessive self-expression prevalent in contemporary art, design and architecture. As light changes with the shifting seasons and time of day, it emphasizes the significance of each solar term." ; write:hasVisualArtworkType , , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit . a wd:Q4502142 ; wdt:P1071 , ; wdt:P1476 "Xu Bing Tianshu Rocket (“徐冰天书号”艺术火箭)"@en, "“徐冰天书号”艺术火箭"@zh, "“Xúbīngtiān shūhào” yìshù huǒjiàn"@zh-Latn ; wdt:P170 ; wdt:P462 , ; wdt:P571 "2022-02-01"^^xsd:date ; wdt:P941 ; write:description """"Xu Bing Tianshu" Rocket was launched into space from Jiuquan, Northwest China, on February 1, 2021. This launch was organized by Xu Bing in collaboration with i-Space. The Xu Bing Tianshu Rocket represents a significant milestone in the evolving realm of space art. The "art rocket" serves as both an homage to the achievements of Chinese astronauts and a manifestation of the innovative spirit that characterizes Xu Bing's creative pursuit. Adorned with invented characters derived from his work, A Book from the Sky (1988), the rocket serves as a medium that explores the arbitrary nature of language and its intrinsic limitations.\r """ ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal false ; write:hasUnit . a write:CalliWritingUnit ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Writing Diary with Water (unknown)" ; write:description "This CWU is part of the \"Writing Diary with Water (水写日记)\" perfomance held in 1995 and recorded as a set of four photographs. It consists of characters written by Song Dong on a flat stone with a brush soaked in water. The characters are written in regular script, from right to left and from top to bottom to form columns as in calligraphic tradition. They represents is Song Dong's personal diary but the content is unknown due to the fleeting nature of its water writing. " ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; write:isUnitOf , ; write:madeUsingTool . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "From Ink to Apparel III"@en, "读衣 III"@zh, "Dú yī III"@zh-Latn ; wdt:P1640 ; wdt:P276 ; wdt:P580 "2018-10-20"^^xsd:date ; wdt:P582 "2018-11-05"^^xsd:date ; wdt:P664 ; wdt:P856 , ; sch:thumbnailUrl ; write:description """The exhibition “From Ink to Apparel III” is part of the interdisciplinary project “From Ink to Apparel,” initiated by the Taiwanese calligrapher Tong Yang-tze in 2016. “From Ink to Apparel III” took place from 10 October to 5 November 2018 in Taipei, Taiwan. The purpose of this exhibition is to promote Chinese culture in Taiwan through calligraphy art. Curator Tong Yang-Tze invites diverse and talented fashion designers of Chinese ethnicity to participate, create, and accumulate design context inspired by the calligraphy lines. “From Ink to Apparel III” stays true to its history of crossover collaborations and its exploration into calligraphy’s role in contemporary art. The exhibition theme is “wú” and features three designers from Taiwan, two from Beijing and one from UK: CHOU Yu-Ying, CHEN Shao-Yen, TSAI Yi-Fen, LI Ying-Jun, ZHOU You, and PAN Bernice.T heir exhibits will showcase thirty collections that illustrate the unique style and energy of each designer.\r “Wu 無" (emptiness) is the theme of this exhibition, with fourteen fonts which are variations of the cursive script, running script, regular script, clerical script, and seal script. The forms of these characters are distinct, but designers must interpret them visually to form structures, materials, and prints from the fluidity of calligraphy lines and the spaces amongst them."""@en ; write:exhibitedArtwork ; sch:image . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , ; wdt:P9302 , ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Northeast (东北)" ; write:description """This Calli-Writing Unit features a large-scale tag in Chinese characters reading "Dongbei 東北," executed using only two colors: black and blue. "Dongbei" translates to "northeast" in English, referring to the northeastern region of China, which comprises the provinces of Liaoning, Jilin, and Heilongjiang. The artist selected this tag as a nod to his origins in one of these provinces.\r The characters allude to the zhuanshu 篆书 (seal) style of Daoist talismanic script (fulu 符箓 or fuwen 符文), characterized by its twisted, irregular, and elongated strokes that sometimes resemble Chinese characters. Dongbay accentuates the strokes of "Dongbei" by incorporating small blue circles that evoke talismanic stars, reinforcing the mystical and spiritual symbolism of Daoist talismans.\r The vertical arrangement of the blue circles recalls the structure of bamboo strips (jiace 简册), a traditional medium for writing in ancient China. By integrating these blue circles, the artist bridges ancient cultural heritage with modern aesthetics.\r At the same time, this CWU appears to evoke imagery of "war or combat robots." The extended vertical strokes suggest powerful, grounded legs, while the arms create a visual contrast between futuristic technological elements and the mystical qualities of talismanic symbols. This juxtaposition underscores a tension between the esoteric and the mechanical, enriching the artwork's conceptual depth."""@en ; write:directionality "Modern" ; write:hasBackgroundColour , ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:relatedUnit ; write:transcriptionAndTranslation "Northeast"@en, "东北"@zh, "東北"@zh, "Dōngběi"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 , ; wdt:P462 , ; wdt:P9302 , , ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 Northeast (黄祸+ YP)" ; write:description """This Calli-Writing Unit features the characters "Huanghuo 黄祸" (Yellow Peril), inscribed on the right side of the large tag in small, heavily reworked forms that resemble xiaozhuan 小篆, or small seal script. The squared shapes of the characters subtly reference the niaochongshu 鸟虫书, or birds-and-worms script, further enriching the visual complexity.\r This CWU draws upon the zhuanshu 篆书 or seal script style of Daoist talismanic writing (fulu 符箓 or fuwen 符文), characterized by its twisted, irregular, and elongated strokes that sometimes evoke Chinese characters. \r Dongbay enhances the characters in "Huanghuo 黄祸" by adding decorative swirls and squiggles to the strokes, capturing the essence of talismanic forms. These ornamental flourishes contribute to a distinctive "Chinese graffiti style" for the New Era, offering an alternative to the traditional motifs of arrows, tribal designs, and spades often associated with graffiti's wild style.\r At the same time, the artwork suggests the imagery of "war or combat robots," particularly through the depiction of the character huo 祸, whose extended vertical strokes evoke powerful, grounded legs. The "arms" of the character emphasize a contrast between technological elements and the esoteric, magical qualities tied to talismans. This interplay between futuristic and mystical themes imbues the artwork with a layered meaning, blending traditional Chinese symbolism with modern, technological motifs.\r The lettering of the tag "YP" evokes “pixação graffiti”, a form of graffiti that originated in Brazil, particularly in São Paulo, characterized by a distinctive, cryptic style of lettering. It often features tall, thin, angular letters painted in black or other dark colors on buildings, walls, and other public spaces, typically in hard-to-reach places. """@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf , ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:relatedUnit ; write:transcriptionAndTranslation "YP (Yellow Peril)"@en, "黄祸"@zh, "Huánghuò"@zh-Latn . a wd:Q17514 ; wdt:P1476 "Violet (紫罗兰)"@en, "紫罗兰"@zh, "紫羅蘭"@zh, "Zǐluólán"@zh-Latn ; wdt:P170 ; wdt:P180 ; wdt:P186 , ; wdt:P2048 "5 m"@en ; wdt:P2049 "2 m"@en ; wdt:P276 ; wdt:P462 , ; wdt:P571 "2020-12-05"^^xsd:date ; wdt:P941 , , ; sch:thumbnailUrl ; write:description """The artwork “Violet (Ziluolan 紫羅蘭)” by Dohak625 exemplifies the artist's distinctive re-interpretation of calligraphy within the realm of anti-style graffiti. Created in 2020 in Guangzhou, this piece is one of his earlier works and is composed of the three Chinese characters in the title, referencing the tragic love story of Zhou Shoujuan (1895–1968), a Chinese writer. Zhou, born in an era when marriages were arranged without personal choice, was unable to be with the woman he truly loved. Her English name was Violet, which translates to Chinese as “Ziluolan 紫羅蘭”. Moved by this story, Dohak625 adopted “Ziluolan 紫羅蘭” as one of his primary tags, drawing a parallel between the personal tragedy of Zhou’s love and his own artistic expression.\r The artwork marks a shift in Dohak625’s approach to color and form. While his usual process of color application tends to be more spontaneous, in “Violet (Ziluolan 紫羅蘭)”, he adopts a more deliberate and serious method of coloring. The piece, placed on the edge of a cliff, presents an intriguing juxtaposition of the vibrant violet hue against the starkness of the landscape, suggesting a deeper connection between the color and its natural inspiration. The deliberate use of purple, reminiscent of violet flowers, reflects the artist's intention to evoke nature through spray paint, an unusual yet thoughtful choice in his oeuvre.\r The irregular, jagged shapes of the characters in the artwork align with the artist's anti-style aesthetic, evoking wild efflorescence. This artworks also conform to a contemporary trend in Chinese calligraphy known as “ugly calligraphy” (choushu 丑书), which emerged in the 1980s and is characterized by disharmony, asymmetry, and inconsistency.\r The central stroke of the character “lan 蘭 (orchid)” extends beyond the wall, reaching toward the ground, a symbolic gesture connecting the artwork to the earth. This extension mirrors the relationship between a flower and the soil, as if anchoring the “Violet” character to its natural roots.\r By situating the word “violet” and its floral elements in a demolition site amidst urban decay, Dohak625 seeks to restore the presence of nature in an otherwise degraded space. This piece operates as more than an act of personal expression; it serves as a critique of urban environments, a key tenet of graffiti culture. In this work, Dohak625’s focus extends beyond reclaiming urban spaces for human expression, to reclaiming them for nature. The graphic design of the characters suggests a sense of belonging, with the vertical strokes anchoring the characters to the earth, while the upper strokes form a protective, shelter-like structure, symbolically safeguarding nature within an industrialized, urban landscape."""@en ; write:hasChengyu false ; write:hasColophon false ; write:hasGraffitiGenre ; write:hasGraffitiStyle , , ; write:hasGraffitiType , ; write:hasOtherVisualElement ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q17514 ; wdt:P1476 "The heavenly wind blows upon me (天风吹我)"@en, "天风吹我"@zh, "Tiān fēngchuī wǒ"@zh-Latn ; wdt:P170 ; wdt:P186 , ; wdt:P2048 "60 cm"@en ; wdt:P2049 "60 cm"@en ; wdt:P276 ; wdt:P462 ; wdt:P571 "2021-07-30"^^xsd:date ; wdt:P941 ; sch:thumbnailUrl ; write:description """The artwork “The Heavenly Wind Blows Upon Me (Tian feng chui wo 天风吹我)” was created by Dohak625 on July 30, 2021, in Guangzhou, using pink chalk on the ground. The phrase “Tian feng chui wo 天風吹我”, written in non-simplified characters, is derived from a poem by Gong Zizhen 龚自珍 (1792–1841) from the Qing Dynasty, titled “Xiang Yue · Sky Wind Blows Me (《湘月·天风吹我》)”.\r On the day the artwork was created, Dohak625 inscribed the first line of the poem onto the pavement as a tribute to Gong Zizhen's remarkable self-assurance and artistic legacy.\r According to Dohak625 (interview with M. R. Bisceglia 2024) the nuances of Chinese poetry are often challenging to convey to non-native speakers. Simplified, these words might translate to “I was here” in English, but they hold a deeper, more profound meaning. Rather than a mere statement of presence, the phrase evokes the image of a deity descending from the heavens, proclaiming, “Here I am.”\r While the artist does not liken themselves to a deity, they express deep admiration for Gong Zizhen's work, particularly this line, which left a lasting impression. The artist reflects on the historical context of the poem, noting that humility has been a defining characteristic of Chinese culture for millennia. However, Gong Zizhen's bold declaration, “The sky wind blows me,” conveys his belief in his exceptional talent. He perceives himself as a figure of divine significance, as the term “befell” or “advent” is reserved for deities, unlike ordinary people who are simply “born.” This statement reveals the poet's immense confidence, even arrogance, which the artist finds both admirable and striking.\r From a purely stylistic perspective, he mixed his personal jagged/anti-style with the contemporary trend in Chinese calligraphy known as “ugly calligraphy” (choushu 丑书), which is characterized by disharmony, asymmetry, and inconsistency.\r The use of pink chalk in Dohak625’s artwork likely carries both symbolic and practical meanings. Pink, often associated with softness, warmth, and compassion, stands in contrast to the poem's themes of divine presence and grandeur. This contrast may signify the artist’s effort to balance humility with boldness, reflecting the tension between the poem’s confident tone and the traditional Chinese cultural value of modesty. Furthermore, pink can symbolize life, renewal, and creativity, aligning with the artist's tribute to Gong Zizhen, a historical figure who challenged conventional modesty by celebrating his own brilliance.\r Chalk, a temporary and easily erased medium, emphasizes the fleeting nature of the artwork. Its impermanence could represent the transient essence of human existence or life itself—themes that resonate with classical Chinese poetry. The chalk’s vulnerability to wind or rain may suggest the impermanence of art or the broader impact of life. By choosing chalk, Dohak625 taps into associations with childhood, innocence, and playfulness. This accessible medium suggests a commentary on the universality of art and the joy of creativity, transforming a simple material into something profound. Using the ground as a canvas brings the art into a public space, inviting interaction and engagement from passersby.\r Moreover, the light, delicate quality of pink chalk contrasts with the weighty significance of Gong Zizhen’s poetry, creating an interplay between the contemporary, casual setting and the depth of the historical literary reference. This contrast bridges the gap between ancient and modern, the ephemeral and the eternal, reflecting the artist’s desire to create a dialogue between these two realms. Ultimately, the use of pink chalk serves as a personal and interpretive tool for Dohak625, emphasizing both the fleeting nature of art and its lasting resonance across time."""@en ; write:hasChengyu false ; write:hasColophon false ; write:hasGraffitiGenre ; write:hasGraffitiStyle , ; write:hasGraffitiType ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q17514 ; wdt:P1476 "Just live (活着就行)"@en, "活着就行"@zh, "Huózhe jiùxíng"@zh-Latn ; wdt:P170 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P462 , , ; wdt:P571 "2021"^^xsd:gYear ; sch:thumbnailUrl ; write:description """The artwork “Just live (Huo zhe jiu xing 活着就行)” was created in 2021. These four characters of the title "Huo zhe jiu xing 活着就行" mean "Just live" or "To breathe is to thrive." The phrase carries a philosophical tone, suggesting that mere existence is a form of thriving. It emphasizes the intrinsic value of life, highlighting resilience and survival, and implies that, despite challenges, the key is to keep going.\r From a stylistic perspective, the four characters “Huo zhe jiu xing 活着就行” consistently adhere to Dohak's jagged/anti-style and the contemporary trend in Chinese calligraphy known as “ugly calligraphy” (choushu 丑书), which is characterized by disharmony, asymmetry, and inconsistency, this time painted in green (with a black outline). Each character are displayed on a single shutter from left to right. This type of writing evokes the big character calligraphy (dazi shufa 大字书法). The use of green and the jagged strokes reminiscent of leaves may serve as a “green” message, providing a splash of color against the otherwise gray and dreary shutters of the metropolis. Each character resembles a plant, contrasting not only with the gray of the shutter in the background but also with the squared characters of the shop signs. This highlights an interesting contrast between art and the urban environment, utilizing a style that not only captures attention but also conveys an ecological message. The choice of green for the characters, along with the jagged strokes that resemble leaves, emphasizes the idea of rebirth and connection to nature, creating a strong visual impact against the gray of the shutters. \r Moreover, the contrast between the fluid, organic characters and the squared shop signs underscores a tension between the rigidity of commerce and the naturalness of life. This type of artistic intervention may also stimulate reflection on sustainability and the importance of preserving green spaces in cities.\r Another important aspect of this "piece composition" is that each individual character is perfectly and harmoniously contained within a square, akin to the practice of writing within the "hanzigezi 汉字格子" grid, that is a grid composed of intersecting horizontal and vertical lines that create squares, traditionally utilized for practicing Chinese writing and calligraphy.\r In this artwork, the artist enjoys creating graffiti on roll-up doors for two main reasons: i) First, these doors are only visible when the shop is closed, minimizing their impact on the environment. Compared to graffiti in other locations, the reduced visibility can increase the chances of the artwork lasting longer. ii) Second, the size of roll-up doors is particularly suitable for Chinese graffiti, especially when multiple doors appear in succession. On this occasion, the artist encountered four consecutive roll-up doors and decided it would be perfect to write a motto. Thus, they inscribed four Chinese characters meaning “Huo zhe jiu xing 活着就行” (Just live), which reflects one of their personal values. iii) Additionally, the artist enjoys designing signs for shop names on these roll-up doors. This approach can lead environmental protection workers, who are tasked with covering graffiti, to mistakenly believe the artwork was created by the shop owner, potentially protecting it from removal. The artist considers himself a non-traditional graffiti creator. While he recognizes that graffiti is often viewed as vandalism, their understanding of this concept differs; they are not solely focused on destruction. When creating graffiti on a roll-up door, they take into account the perspective of the shop owner, hoping to foster a sense of imagination and purpose in their work."""@en ; write:hasChengyu false ; write:hasColophon false ; write:hasGraffitiGenre ; write:hasGraffitiStyle , ; write:hasGraffitiType , ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , ; wdt:P9302 , ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Elvis (猫王)" ; write:description """This Calli-Writing Unit consists of two characters, representing the artist's tag, “Mao Wang 猫王,” written in Chinese characters. These characters are painted with a black outline and a white fill. The name “Mao Wang 猫王” translates literally to “Cat King” in English, which playfully alludes to Elvis Presley, who is often referred to as “The King” of Rock ‘n’ Roll. By adapting this title into Chinese, the artist introduces a humorous cultural reference. The character “Mao 猫” means “cat,” adding a whimsical element to the name, which may reflect the artist’s intention to blend cultural symbols in a light-hearted and engaging way (Huang 2009).\r The two characters, “Mao Wang 猫王,” are superimposed onto a “non-fully aligned hanzigezi 汉字格子 grid." A hanzigezi 汉字格子 grid is traditionally used for practicing Chinese writing and calligraphy. By deviating from this grid, with strokes extending beyond its boundaries, the artist appears to challenge the constraints imposed by the grid, symbolizing a desire for creative freedom.\r The character "mao 猫" (cat) is rendered in small seal script (xiaozhuan 小篆), known for its childlike, primitive, and naive quality, as well as its pictographic forms. By incorporating a “head” into the design of the radical "quan 犭" that means “dog”, the artist personifies the tag. Furthermore, the radical "cao 艸/䒑" (grass) is aligned with the space designated for the “head,” with one of its two tufts overturned, creating a balanced composition both visually and semantically, reflecting a tension between human influence and nature. The green background, evocative of a field, alongside the radical "tian 田" (field) in the bottom right, which is represented as a pictographic wheel, enhances the visual and semantic readability of the artwork.\r This piece is designed to capture attention through its irony and subtle political commentary, particularly concerning themes such as Nature versus Control. The natural and animal elements in the first character, "Mao 猫," extend beyond the grid against a green background, in contrast to the character "Wang 王" (king), which is confined within a perfect grid and set against the gray of the natural wall. This contrast symbolizes power, control, censorship, and containment, juxtaposed against the organic elements of nature."""@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:relatedUnit ; write:transcriptionAndTranslation "Elvis Presley (lit. King of cats)"@en, "猫王"@zh, "Māo wáng"@zh-Latn . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 Elvis (黄祸)" ; write:description "This Calli-Writing Unit features the characters \"Huanghuo 黃禍\" (Yellow Peril) in the upper left corner. These characters are rendered in non-simplified characters, with certain indexing components written in small seal script (xiaozhuan 小篆), a style commonly used in ancient China for formal inscriptions and seals. The positioning of the characters evokes the appearance of a colophon, similar to an artist’s signature, as often found in large-character calligraphic works (dazi 大字). This placement, typical in traditional Chinese calligraphy, emphasizes the artistic and cultural significance of the characters, further blending art with written language."@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf , ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:relatedUnit ; write:transcriptionAndTranslation "Yellow Peril"@en, "黃禍"@zh, "黄祸"@zh, "Huánghuò"@zh-Latn . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Forest of Stone Steles: Retranslation & Rewriting of Tang Poetry (碑林－唐诗后著)"@en, "碑林－唐诗后著"@zh, "Bēilín - Tángshī Hòuzhù"@zh-Latn ; wdt:P170 ; wdt:P580 "1993"^^xsd:gYear ; wdt:P582 "2005"^^xsd:gYear ; sch:thumbnailUrl ; write:description "In 1993, Gu Wenda began \"Forest of Stone Steles – Retranslation & Rewriting Tang Poetry\", a project in which he carved 50 stone steles featuring retranslated Tang poems. These poems underwent a process of translation—first from Chinese to English, then back from English to the Chinese translation based on the English sound. The project explores themes of cultural exchange, assimilation, and misunderstanding, highlighting how cultures influence and transform one another. Gu Wenda’s works reflects the complexities of global cultural interaction and suggests that new cultural forms can emerge from the recognition of these misunderstandings. Through the act of \"retranslation\" and \"rewriting,\" Gu Wenda challenges the boundaries of both language and visual representation, offering viewers an opportunity to experience the profound aesthetic and cultural depth of Chinese literature in a new context." ; sch:image ; write:includesArtwork . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 , ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Writing Music – Silent Melodies: \"The Barber of Seville\" (signs)" ; write:description """This CWU consists of the musical symbols transcribed in the front side of Silent Melodies: "The Barber of Seville" from the series Writing Music – Silent Melodies. Luo Qi translates the melody of "The Barber of Seville" by Gioachino Rossini (1792-1868) into a concatenation of calligraphic signs inspired by the most ancient Chinese musical notation system, the “Dunhuang Musical Notation System” (Dunhuang qupu/Dunhuang yuepu 敦煌曲谱/敦煌乐谱), made up of ancient symbols/simple characters. The musical symbols written entirely in black ink, and transcribed one below the other from right to left, to form columns (31 in total), exactly as if they were traditional characters within a written text. Reworking it through his personal and original interpretation, he transforms the opera’s music into a “visual and visible score,” strongly rhythmic and dynamic, with an inextricably calligraphic texture, as the other work of the series “Writing Music – Silent Melodies” (2018-2023) it belongs to. \r To the right and left of the transcription, three red seals of the artist, one on the right and two on the left, represent the signature of the artist himself. Finally, on the left end, there is the colophon of the work with the indication of the year and month of execution “Er 0 er san jiu yue 二0二三九月” (October 2023), followed by the artist’s name “Luo Qi 洛齐” and the place of creation “Lisiben 里斯本” (Lisbon).\r """ ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon true ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:relatedUnit . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 Overturning the Mountains (《蜀道难》)" ; write:description "This CWU is composed of two lines from the poem \"The Hard Road to Sichuan\" (Shu dao nan 蜀道难) by the Tang Dynasty poet Li Bai 李白 (701-762). The text surrounds the larger character 'shan' 山 (mountain) in CWU 1, arranged in a free-flowing layout. The two lines include the characters Shan cui 山摧 (\"the mountains collapse\" / \"the mountains are shattered\"). They are reproduced at a larger scale in CWU 1 and serve as the artwork's title. This choice underscores the central theme of both the poem and the calligraphy: the need for regeneration after arduous periods and difficult paths. The colophon reads \"lines by Li Bai\" (Li Bai ju 李白句)." ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 16 ; write:relatedUnit ; write:transcriptionAndTranslation """The ground collapsed and the mountain crumbled - warrior heroes died, \r and only then was this road in the sky linked with a plank road. \r (Translated by Iezzi and Meccarelli)\r """@en, """Up to the summit of Emei Peak -- \r Which was broken once by an earthquake and there were brave men lost, \r Just finishing the stone rungs of their ladder toward heaven. \r (Translated by Witter Bynner)"""@en, """地崩山摧壮士死 ，\r 然后天梯石栈相钩连 。\r """@zh, """地崩山摧壯士死 ，\r 然後天梯石棧相鉤連 。\r """@zh, """Dì bēng shān cuī zhuàngshì sǐ, \r ránhòu tiān tī shí zhàn xiāng gōu lián.\r """@zh-Latn . a wd:Q7725310 ; wdt:P1476 "Book from the Ground (地书)"@en, "地书"@zh, "Dìshū"@zh-Latn ; wdt:P170 ; wdt:P580 "2003"^^xsd:gYear ; write:description """Book from the Ground is an on-going project started by Xu Bing in 2003. It represents an ongoing exploration of communication and language, in which the artist adopts symbols and pictograms from the public sphere to create a book exclusively written in this visual language. \r The uniqueness of Book from the Ground lies in its accessibility. Due to the universal nature of its visual symbols, the book can be understood by any reader belonging to contemporary society, regardless of one’s cultural or linguistic background. For this reason, there is no need for any translation and it can be published anywhere.\r Xu Bing realized several installations for the Book from the Ground, in which he suggests the continuous nature of the project as a never-ending exploration of visual communication. \r Xu Bing Studio also created a character database software that corresponds to the language of the book. Users can enter words either in Chinese or in Chinese, and subsequently, the program translates them into Xu Bing's lexicon of signs. It serves as an intermediary form of communication and exchange between the two languages. As personal computers and the internet become increasingly integrated into daily life, the lexicon of digital icons grows accordingly, and the symbolic language of Book from the Ground has been further updated, augmented, and complexified. \r In response to his own Book from the Sky (1988) whose language is completely illegible, the symbols of Book from the Ground are in contrast legible to all, and therefore, it may be considered an expression of Xu Bing’s long-standing vision of a universal language.""" ; write:includesArtwork . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , ; wdt:P462 , , ; write:attributedTitle "CWU 1 The Genetics of Reading Image (signs)" ; write:description """This CWU consists of a set of signs "translating" the text of the famous Orchid Pavillion Preface (Lanting ji xu 兰亭集序), written by Wang Xizhi in 353 AD. The content of the CWU is a visual translation with pictographic (emoji) adaptation that convey this famous text . This Preface is one of the most well-known pieces of Chinese calligraphy and describes a gathering of scholars at the Orchid Pavilion in Shaoxing, Zhejiang, for a spring festival.\r The emoji-based translation presents the descriptions of time, place, nature, and the poetic spirit of the gathering. Starting with the introduction of the date and of the event, with the calendar 9th year of the Yonghe era, which corresponds to 353 AD. The text mentions the gathering during early spring when the vegetation is starting to grow. The scene, then, depicts a group of people and a pavilion, representing the gathering of scholars at the Orchid Pavilion near the mountains of modern-day Shaoxing. The scholars are seated along a stream where they write poetry while allowing cups of wine to float on the water. The content presents then the natural setting and the activities of the scholars. natural setting is presented as lush bamboo forests, flowing streams, and the tranquil surroundings of the pavilion. The mountains, bamboo, and various plants symbolize the serene environment where this gathering took place. The literati gathering is about enjoying nature, sharing drinks, and composing poems. The image shows people sitting by the stream with cups of wine, representing the famous drinking game where cups of wine were floated down the stream. Scholars sit along the stream and engage in writing poetry, reflecting the peaceful atmosphere and their enjoyment of nature. These scene are illustrated with symbols of the eye (viewing), waves (water), and a cup. \r """ ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine false ; write:hasColophon false ; write:hasSignificance "Set of signs (illegible)" ; write:isUnitOf ; write:relatedUnit ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 , , ; sch:thumbnailUrl ; write:attributedTitle """CWU Chinese Calligraphy meets Shamanic Music (色不異空...)\r """@en ; write:description "This CWU is part of the musicalligraphy performance entitled \"Chinese Calligraphy meet Shamanic Music\" realized by Silvio Ferragina and Sainko Namtchylak. It consists on some verses of the “Heart Sutra” with different calligraphic styles: seal script (zhuanshu), cursive script (caoshu) and regular script (kaishu). During the performance, Silvio also uses a particular writing technique in which he employs a dry brush (resembling the feibai) that he then soaks in ink and drip onto the transcribed characters, reminiscent of the dripping technique." ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 16 ; write:transcriptionAndTranslation """Form is not different from emptiness,\r emptiness is not different from form. \r Form is emptiness,\r emptiness is form.\r """@en, """色不異空\r 空不異色\r 色即是空\r 空即是色"""@zh, """sè bù yì kōng\r kōng bù yì sè\r sè jí shì kōng\r kōng jí shì sè\r """@zh-Latn . a write:CalliWritingUnit ; wdt:P1480 ; wdt:P180 , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 , ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Ode of Eight Thousand Verses: Fortune n. 1 (福)" ; write:description """This CWU consists of the character "Fu 福" (Good Fortune), written in more than 20 different forms. To shape these forms, Luo Qi took inspiration from the very popular "Baifutu 百福图" (One hundred handwritings of the character fu), a design composed of 100 different handwritings of the character fu 福 in the style of ancient and modern seal character, expressing good wishes. This diagram is also linked to the forms of the so-called "Daoist talismanic script" (fulu 符箓 or fuwen 符文), usually reported on talismans. These forms make the character not linguistically (and immediately) recognizable, giving it magical power. The artist decided to write this character also because from 2010 it has been the source of inspiration of an important part of his artistic production focusing on various reworking of this character. Additionally, the character "fu" refers to an essential religious text of Western tradition, the Gospel, which in Chinese is called "Fuyinjing 福音经" (lit. ‘Classic of Fortunate Music’ or ‘Classic of Happy Sound’). This text is the main topic of another series created by Luo Qi in 2018 entitled "Fujing chaoben 福经抄本" (The transcription of the Gospel) inspired by European Medieval incunabula. Through this character, the artist link together different series of his artistic production, different religious (Taoism and Christianity), popular and elite art, magical script and religious texts.\r """ ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 25 ; write:relatedUnit ; write:transcriptionAndTranslation "Good Fortune"@en, "福"@zh, "Fú"@zh-Latn . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P462 , ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 Sans Papier - Song Papier (lines)" ; write:description "This CWU is part of the performance \"Sans Papier - Song Papier\" which took place on 30 May 2011 in the Carlo de Carli room of the Milan Bovisa Campus (Polytechnic of Milan) as the inaugural event for the exhibition “Sans papier/son papier ” (held from 27 May to 14 July 2011). It consists of different lines realized by Gabriele Amadori with red and blue paint." ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:relatedUnit ; write:vectorisedOrDigitised false . a write:CalliWritingUnit ; wdt:P180 , , , , , , ; wdt:P186 , , ; wdt:P282 , ; wdt:P407 , , , , ; wdt:P462 , , , ; wdt:P9302 ; sch:thumbnailUrl , ; write:attributedTitle "CWU 2 Inky Strings: Old Friends from Mountains and Rivers (multiple languages)" ; write:description "This CWU is part of the performance \"Inky Strings: Old Friends from Mountain and River,\" created by Echo Morgan and Zhang Yaqin, held at the International Museum and Library of Bologna on October 29th, 2023. It consists of words and phrases written in different languages by the public on the artis's body, as well as on the long silk scroll where Echo Morgan walked during the performance. People wrote words, such as: “Speranza” and “Fiore” (“hope” and “flower” in Italian); “paqe” (“peace”, in Albanian); “amour” (“love”, in French), “jia you 加油” (“come on”, in Chinese), \"no more war\" or \"save the world\" (in English)."@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image , ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:relatedUnit ; write:transcriptionAndTranslation "paqe"@alb, "Come on"@en, "Feel/Regret"@en, "Save the world"@en, "What is love?"@en, "no more war"@en, "amour"@fr, "L'arte è umanità"@it, """Speranza\r Fiore\r """@it, "加油"@zh, "感 / 憾"@zh, "爱是什么"@zh, "Gǎn / Hàn"@zh-Latn, "Jiāyóu"@zh-Latn, "Ài shì shénme"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P462 ; write:attributedTitle "CWU Cursive/Wild Grass (lines)" ; write:description "This CWU (\"Cursive/Wild Grass\") is part of the solo performance-installation by Yin Mei, realized on February 25, 2006, at the Vision Festival in New York. Dressed in black and positioned on a large white paper sheet, Yin Mei begins to move in slow, serpentine patterns. In a subsequent phase, her body—now soaked in black ink—continues these gestures, leaving marks on the surface through direct contact. These imprints, made with her limbs and entire body, evoke calligraphic brushstrokes, particularly referencing the expressive and unrestrained energy of \"wild cursive\" script. The resulting composition consists solely of calligraphic lines and ink traces produced by the motion of the body." ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; write:isUnitOf , ; write:madeUsingTool . a wd:Q17514 ; wdt:P1476 "Please Describe Graffiti to a Blind Person (请向盲人描述涂鸦)"@en, "请向盲人描述涂鸦"@zh, "Qǐng xiàng mángrén miáoshù túyā"@zh-Latn ; wdt:P170 ; wdt:P180 ; wdt:P186 , ; wdt:P276 ; wdt:P462 , , , , , , , , , ; wdt:P571 "2023"^^xsd:gYear ; sch:thumbnailUrl ; write:description """The artwork titled "Please Describe Graffiti to a Blind Person" (qing xiang mangren miaoshu tuya 请向盲人描述涂鸦) was created in Guangzhou in 2023.\r Zeit 時間 used spray paint in his straight, large charactering to write the title phrase. The piece features a white outline and a multicolored fill (mainly pastel colors)and includes also various tags in white, such as STH, 2G, and FEK (his crews), as well as the name "Zeit" in traditional characters "時間," possibly the names Oreone and Leven (two potential crewmates) and the same characters of the piece above in white.\r In an interview (Bisceglia 2024), Zeit states: "This is a place full of graffiti, and people come here to take photos. I wrote ‘Please describe graffiti to the blind’ because I hope that after taking a picture, people will realize that sharing color with others is more meaningful." While, on his Instagram post, hedescribes the work as follows: "The culture of graffiti has entered the public's field of vision because of its conspicuous colors and its occupation of public space. We also call it a part of ‘visual art.’ But have we, as writers, ever thought about how to describe graffiti to a blind person? Give it a try, I look forward to seeing your responses in the comments."\r Zeit 時間's decision to paint the phrase "Please Describe Graffiti to the Blind" reflects a profound exploration of the intersection between visual art and accessibility. By inviting viewers, especially those who might not experience color or visual aesthetics, to engage with graffiti in a different way, he emphasizes the need for inclusivity and encourages a broader understanding of art that transcends traditional boundaries.\r This phrase challenges the norm that art is solely a visual experience, prompting people to consider how the essence of graffiti can be communicated beyond visual elements. It also serves as a cultural commentary, recognizing the limitations of visual art for some audiences while inviting discussion about the role of public art in society and its impact on different communities.\r Through his focus on sharing color, Zeit highlights the importance of community and collective experiences, encouraging viewers to think about how to convey the essence of graffiti to someone who cannot see it. In doing so, he emphasizes the social aspect of art and the connections it can create. Overall, Zeit 時間’s piece acts as a thought-provoking commentary on accessibility, the nature of art, and the significance of community engagement in creative expression."""@en ; write:hasChengyu false ; write:hasColophon false ; write:hasGraffitiGenre , ; write:hasGraffitiStyle , , ; write:hasGraffitiType ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q17514 ; wdt:P1476 "Good Flavor (美味) "@en, "美味 "@zh, "Měiwèi"@zh-Latn ; wdt:P170 ; wdt:P186 , ; wdt:P2048 "3 m"@en ; wdt:P2049 "5 m"@en ; wdt:P276 ; wdt:P462 , , , , ; wdt:P571 "2023-12-11"^^xsd:date ; write:description """This artwork was created by IRON on December 11, 2023, in Yinchuan, Ningxia, China. Measuring 5 meters in width and 3 meters in height, it was executed using spray cans, reflecting a vibrant blend of traditional Chinese calligraphy and modern graffiti techniques. The piece is anchored by bold Chinese characters, rendered in a dynamic yellow and orange palette with outlines of red and black, which create a powerful visual impact.\r It is interesting how, in addition to a range of symbols and puppets, the character "wei 味," meaning "flavor" or "taste," features within its "kou 口 radical" (meaning "mouth") a depiction of the symbol "tao."\r The tao 道 originates from Chinese philosophy and is a fundamental concept in Daoism (Taoism). It is often translated as "the Way" or "the Path." The concept of tao represents the underlying natural order of the universe, guiding the flow of all things. It is both a principle and a force that shapes the nature of existence and reality. Tao encompasses the balance and harmony found in the cycles of nature, the interconnectedness of all beings, and the guiding principles for how one should live in accordance with these natural rhythms.\r As a symbol (taijitu 太极图),is often represented by the yin-yang icon in Daoism. The yin-yang symbol consists of a circle divided into two swirling halves—one black (yin) and one white (yang)—with a small dot of the opposite color within each half. It visually expresses the duality and interconnectedness of opposites in the universe, reflecting the principles of balance, harmony, and continuous change, which are central to the concept of tao.\r The yin-yang symbol is closely linked to the idea of tao because it captures the dynamic interplay of forces in the natural world, highlighting how opposites (such as light and dark, male and female, active and passive) are interdependent and continuously transform into one another. This balance and constant flow are key aspects of the tao, which is viewed as the underlying force that governs the natural order and guides the cycles of life.\r In the context of Daoism, living in harmony with the tao means aligning oneself with the natural order and flow of life, acting in a way that is spontaneous, intuitive, and in balance with the universe. The idea emphasizes simplicity, humility, and non-interference (wu wei), suggesting that by following the tao, one can achieve peace, wisdom, and fulfillment.\r In this case, the symbol depicted does not strictly follow the circular shape but instead adapts to the form that IRON has chosen to give to his charactering.\r Among the symbolic elements present, a stylized hand with an eye in its palm stands out prominently. This image is often linked to themes of perception, insight, and protection. In this context, it may signify an elevated awareness or sensitivity, symbolizing how one experiences the world through taste and other senses. The hand with an eye might also suggest a form of introspective observation, where the act of perceiving is as important as the object of perception itself.\r The surrounding motifs, such as stars and the sun, add a cosmic dimension to the artwork, potentially symbolizing guidance, inspiration, or the life-giving energy that sustains both physical and cultural nourishment. These celestial elements may also evoke the idea of time's passage, drawing a parallel to the way flavors develop and evolve with changing seasons or through the continuity of tradition.\r Overall, this artwork is an exploration of sensory perception, cultural identity, and philosophical reflection. It seamlessly integrates traditional Chinese elements with contemporary graffiti styles, embodying IRON's commitment to merging the past and present in a dialogue that speaks to both personal and universal experiences."""@en ; write:hasChengyu false ; write:hasChineseConcept , , ; write:hasChineseVisualElement ; write:hasColophon false ; write:hasGraffitiGenre ; write:hasGraffitiStyle , , , ; write:hasGraffitiType ; write:hasOtherVisualElement , , , , , , ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a wd:Q17514 ; wdt:P1476 "Iron (铁)"@en, "鐵"@zh, "铁"@zh, "Tiě"@zh-Latn ; wdt:P170 ; wdt:P186 , ; wdt:P2048 "3 m"@en ; wdt:P2049 "4 m"@en ; wdt:P276 ; wdt:P462 , , , ; wdt:P571 "2023-05-18"^^xsd:date ; write:description """The artwork titled "Iron 鐵 " was created on May 18, 2023, in Amoy, China, is a 4m by 3m graffiti piece made using spray cans. It prominently features Iron's tag along with a coral motif. The vibrant red tones and fluid lines in the piece create a sense of movement, while the contrasting blue highlights add depth and texture. \r It is interesting how coral, a natural element typically red in color, is rendered in blue, while the charactering of the tag "Iron," a mineral element, is instead depicted in bright red using a "Modern Gothichinese Calligraffiti style". This creates a curious juxtaposition of elements rendered inversely, evoking a reminiscence of yin and yang and the interplay of opposites.\r Regarding this, within the piece, a taijitu 太极图 can be observed, commonly represented by the yin-yang symbol in Daoism. The yin-yang symbol consists of a circle divided into two interlocking halves—one black (yin) and one white (yang)—each containing a small dot of the opposite color. This imagery symbolizes the duality and interconnectedness of opposites in the universe, embodying the principles of balance, harmony, and perpetual transformation, which are foundational to the concept of Tao. This is a recurring motif (leit motif) that Iron frequently incorporates into his works; however, in this instance, rather than using the traditional black and white, the symbol adopts the colors of the artwork, blending red and blue.\r The overall composition blends elements of natural forms with stylized graffiti charactering, creating a striking visual impact."""@en ; write:hasChengyu false ; write:hasChineseConcept ; write:hasChineseVisualElement ; write:hasColophon false ; write:hasGraffitiGenre ; write:hasGraffitiStyle , , ; write:hasGraffitiType , ; write:hasOtherVisualElement ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 , , ; wdt:P282 ; wdt:P407 , ; wdt:P462 , , ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 Restored to Ashes (恢烬) + WOD, 2023" ; write:description """This Calli-Writing Unit features the characters "Huijin 恢烬," depicted in traditional Chinese characters (Changgui fantizi 常规繁体字) using an ignorant/anti-style. \r The CWU is defined by a bold initial outline in red, followed by a secondary white outline, and culminating in a black fill, all of which contribute to its dynamic visual impact.\r This CWU encapsulates a profound exploration of themes related to meaning, loss, and transformation. \r "Huijin 恢燼," the artist's tag, conveys the idea of "restored to ashes" or "returning to dust." This duality reflects Beer1ne's personal journey, as the tag 恢烬 emerged during a tumultuous emotional period when he resonated with the symbolism of "ash," representing both decay and the remnants of a once-vibrant existence.\r The origin of this concept dates back to the writer’s senior year in high school, during a period marked by intensive preparation for college entrance exams and emotional difficulty. At the time, the writer developed a strong addiction to smoking and would often find himself watching the ashes drift away while smoking by the window. This imagery of "ashes" inspired a reflective perspective.\r The notion of ashes was soon juxtaposed with lines of classical poetry about wild grass: “野火烧不尽，春风吹又生” ("Wildfire cannot destroy it; when the spring wind blows, it lives again"). This verse, rich in symbolism, conveys resilience and renewal in nature’s cycles. The burning wild grass, reduced to ashes, symbolizes dissolution; however, these ashes integrate into the earth, nurturing it and allowing the wild grass to sprout once more. The imagery evokes an ecological perspective on the relationship between destruction and regeneration.\r Simultaneously, the writer felt that "Huijin 恢燼" (translated as "ash") occupies a liminal space, existing at the boundary of presence and disappearance. During this time, he was actively engaged in graffiti and philosophical exploration, navigating a deeply introspective mental space. To him, ashes felt like "travelers in nature," resonating with his self-perception as a "wanderer in the subjective world."\r This interpretation of "Huijin 恢燼" reflects one of several possible understandings. It is a concept the writer continues to contemplate and expand upon, suggesting that the metaphor of ashes may evolve over time.\r Through this perspective, the artwork becomes a poignant metaphor for desolation intertwined with the potential for renewal. Just as ash can settle into the earth or drift with the wind, Huijin embodies a cycle of rebirth, suggesting that from the remnants of what once was, something new may arise. The piece captures a sense of melancholia while also expressing an openness to change, inviting viewers to reflect on their own experiences of loss and transformation.\r In essence, Beer1ne’s work represents an improvisational response to the materials at hand, leading to a creative exploration of identity and existence. The incorporation of both traditional calligraphy and contemporary graffiti styles not only highlights the artist’s versatility but also emphasizes the ongoing dialogue between past and present, inviting contemplation on the nature of meaning in a world constantly in flux."""@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool , ; write:numberOfCharacters 2 ; write:relatedUnit ; write:transcriptionAndTranslation "restored to ashes"@en, "恢烬"@zh, "恢燼"@zh, "huī jìn"@zh-Latn . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , , , , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Jiangxi Graffiti (赣塗)" ; write:description """This Calli-Writing Unit is composed of the Chinese characters "Gantu 赣塗," where "gan" signifies Jiangxi Province, often abbreviated in this way in local discourse, and "tu" denotes painting or coating, often associated with the act of graffiti. Together, the characters could be translated as "Jiangxi Graffiti," symbolizing an artistic homage to the region.\r The style of the Chinese characters combines regular script (kaishu 楷书) with an ignorant style, characterized by a spontaneous, raw execution that emphasizes expression over refinement. This juxtaposition of traditional calligraphic form with modern graffiti technique creates a dynamic visual contrast, highlighting Beer1ne's ability to integrate cultural heritage within contemporary street art. The regular script provides a sense of formality and structure, while the ignorant style adds an element of unrestrained creativity, evoking the spontaneity that defines graffiti.\r The use of stars, dots, and LED-inspired light patterns in the surrounding environment adds an additional layer of energy and modernity to the artwork. These elements create a vibrant atmosphere that complements the boldness of the characters. The left panel, rendered in a striking yellow and red color scheme, draws attention to the textual elements, while the right panel, dominated by cooler tones of blue and green, balances the composition with abstract forms and expressive graffiti lettering.\r Within the character "gan 赣," specifically in the radical "li 立 (stand)," there are two characters "yishi 意實 (意实)," meaning “real”: “yi 意” is rendered in Jiaguwen (oracle bone script), while “shi 實” is written in Xiaozhuan (seal script). Both characters are rendered in a golden hue, evoking the appearance of LED lights and dots.\r In its entirety, "Jiangxi Painting" reflects a nuanced dialogue between traditional Chinese calligraphy and modern graffiti culture. It underscores the artist’s regional roots in Jiangxi Province while exploring the broader possibilities of contemporary urban art. The interplay between structured calligraphy and spontaneous graffiti emphasizes both continuity with the past and innovation, making it a standout piece in Beer1ne’s artistic repertoire."""@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:relatedUnit ; write:transcriptionAndTranslation "Jiangxi Graffiti "@en, "赣塗"@zh, "赣涂"@zh, "Gàntú"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 , ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 Jiangxi Graffiti (意實)" ; write:description "This Calli-Writing Unit consists of two Chinese characters \"yishi 意實 (意实),\" meaning “real”: “yi 意” is rendered in Jiaguwen (oracle bone script), while “shi 實” is written in Xiaozhuan (seal script). These characters are written within the larger character \"gan 赣,\" specifically in the radical \"li 立 (stand).\" Both characters are rendered in a golden hue, evoking the appearance of LED lights and dots."@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:relatedUnit ; write:transcriptionAndTranslation "real, sincere"@en, "意实"@zh, "意實"@zh . a wd:Q17514 ; wdt:P1476 "More Than Human World"@en ; wdt:P170 ; wdt:P180 , ; wdt:P186 , , ; wdt:P2048 "5 m"@en ; wdt:P2610 "2.5 m"@en ; wdt:P276 ; wdt:P462 , ; wdt:P571 "2022"^^xsd:gYear ; wdt:P941 , , ; sch:thumbnailUrl ; write:description """The monumental piece "More Than Human World" was created by TxT in 2022 near the River Po in Italy. The artwork spans eight pillars of a bridge, where the artist employs a calligraphic style reminiscent of the great seal script (dazhuan 大篆), with bold black brushstrokes and acrylic paint to inscribe the phrase "more than human world." This expression originates from David Abram's influential book "The Spell of the Sensuous," linking the artwork to his philosophy of the "more-than-human world," which emphasizes the interconnectedness of human beings and the natural environment. As a result, the piece can be understood as a socio-political work of art.\r The composition of the artwork is deliberately fragmented, with letters spread across different pillars. This arrangement creates a dynamic, multifaceted experience for viewers, who encounter the message gradually as they traverse the bridge. For instance, the first pillar bears the word "mor," accompanied by TxT's signature red tag/seal, which is inspired by ancient Chinese calligraphic seals, reinforcing the themes of permanence and authority. A lemon-yellow scribbled background—an element repeated on alternating pillars—adds a striking contrast to the black brushstrokes. The subsequent pillars continue in a similar pattern, with the second pillar completing the word "more" and alternating the use of the red tag and yellow background, ensuring rhythmic visual balance throughout the installation.\r This artistic choice - using black brushstrokes and a modern interpretation of traditional Chinese calligraphy - connects visually to Abram's philosophy, as it bridges the ancient, symbolic language of calligraphy with the contemporary urgency of environmental concerns. The use of letters, rather than Chinese characters, further modernizes the calligraphic aesthetic.\r The piece responds directly to the devastating drought of the River Po in 2022, an event exacerbated by climate change, which profoundly altered the natural landscape. The drought serves as a reminder of the fragility of ecosystems and humanity's responsibility to recognize its place within the broader web of life. TxT’s work reflects this shift, drawing attention to the inextricable link between human and non-human entities, a central theme in Abram’s philosophy. In The Spell of the Sensuous, Abram advocates for a reevaluation of how humans engage with the "more-than-human world," urging a more profound respect for the natural world that sustains human life.\r Through this large-scale outdoor installation, TxT highlights the fragile, yet powerful, relationship between humans and nature. The artwork becomes a visual reminder of the impact of climate change, while also inviting contemplation on the role of human beings as part of a broader, interconnected ecological system. By bridging the philosophical with the visual, the piece serves as a meditation on how human actions—particularly in the context of environmental crises such as the River Po drought—reverberate through the natural world, blurring the boundaries between the human and the more-than-human."""@en ; write:hasChengyu false ; write:hasChineseConcept ; write:hasChineseVisualElement ; write:hasColophon false ; write:hasGraffitiGenre ; write:hasGraffitiStyle , , ; write:hasGraffitiType , , ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool , . a write:CalliWritingUnit ; wdt:P186 , , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Real (意实) + @beer1ne " ; write:description """The “CWU 1 Real (意实) + @beer1ne” prominently features the characters "Yishi 意实" in the Qin Dynasty seal script style. The CWU is characterized by a bold red outline, followed by a secondary white outline and completed with a black fill, creating a visually impactful effect. In one collaborative piece, the artist incorporated the tags "Real" and "Restored to Ashes" (意实-恢烬), a unique instance due to the scale of the piece and the collaboration requirement, resulting in an expansive conceptual meaning.\r "Yishi 意实" emerged as a tag during the artist’s high school years, specifically during an intensive art training period in an art studio. Initially, his graffiti leaned toward wildstyle, yet after prolonged practice in this style, he encountered creative limitations. Seeking a fresh, non-traditional approach, he shifted to writing in Chinese. Although he previously used "pijiu 啤酒" (the translation of "beer") as a Chinese tag, he eventually created "yishi 意实" to represent a more authentic and meaningful identity.\r The origins of "Yishi 意实" trace back to this period of exploration, when the artist was interested in a stream-of-consciousness style. His formal art training included traditional Western figurative painting, which he embraced enthusiastically. Inspired by the idea of integrating Eastern and Western elements, he considered the relationship between "yi 意" (concept or idea) and "shi 实" (reality or substance). In traditional painting, Chinese styles emphasize the conceptual, while Western art often focuses on realism. This thematic duality of "idea and reality" in art—where ideas represent the soul, the ethereal, and the mysterious, while reality represents the physical, stable, and clear—was central to his creative direction. Naming his work "Yishi" symbolized his pursuit of a personal style that could establish his unique presence within the evolving timeline of his graffiti journey."""@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool , ; write:numberOfCharacters 2 ; write:relatedUnit ; write:transcriptionAndTranslation "real"@en, "意实"@zh, "意實"@zh, "Yì shí "@zh-Latn . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "MAAP: Out of the Internet"@en ; wdt:P1640 ; wdt:P276 , ; wdt:P580 "2006-11-30"^^xsd:date ; wdt:P582 "2007-01-25"^^xsd:date ; wdt:P664 ; wdt:P856 ; write:description "MAAP’s 2006 media art festival, \"Out of the Internet\", realized an interconnected and context-articulate exhibition presence of net-based work across a range of locations from elite museums, galleries, library networks and into a cascade of urban spaces with a select group of artists based in Asia and working in or connected through internet art practice. It represents the key exhibition component of the 2006 MAAP festival." ; write:exhibitedArtwork . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Not Too Late (不太晚)"@en, "不太晚"@zh, "Bù tài wǎn"@zh-Latn ; wdt:P170 ; wdt:P580 "2012"^^xsd:gYear ; write:description "Feng Mengbo created a series of ink and mixed-media paintings and works on paper, capturing isolated moments from the video piece “Not Too Late\" (2010), and transferring them to canvas and paper. These works were first displayed in the exhibition \"Not Too Late - Recent Works by Feng Mengbo\" held at Chambers Fine Art Gallery in Beijing in 2012, and subsequently in New York in 2013." ; write:includesArtwork . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 , , ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 Writing Music – Silent Melodies: \"The Barber of Seville\" (塞维利亚的理发师)" ; write:description """This CWU consists of the text included on the back of the work entitled Silent Melodies: "The Barber of Seville" from the series Writing Music – Silent Melodies. The text is composed of the Chinese characters “Saiweiliya de lifashi 塞维利亚的理发师” - the Chinese translation of “The Barber of Seville”, written using a style inspired by oracle bone script (jiaguwen), seal script (zhuanshu) and clerical script (lishu). A different character is transcribed on each sheet. The reading direction is from right to left. On the last sheet, next to the last character, the colophon is reported again in two vertical columns that are read from top to bottom and from right to left: in the first column the artist writes “Luoxini de zuopin 罗西尼的作品” (Work by Rossini), while in the second column the name of the author “Luo Qi 洛齐” , the year of execution of the work “Er 0 er san 二0二三” (2023) and the place of creation “Lisiben 里斯本” (Lisbon).\r On the hard cover, in the golden rectangle, there is a calligraphic inscription in two columns: in the first column on the right, there are the characters “Luoxini 罗西尼” (Rossini) at the top, and “Luo Qi shu 洛齐书” (Calligraphy by Luo Qi) at the bottom, while in the second column “Saiweiliya de lifashi 塞维利亚的理发师” (The Barber of Seville) and “Er 0 er san 二0二三” (2023), the year of execution of the work.\r To write the two colophons and the heading in the golden rectangle, the artist uses an entirely personal style that stems from the reworking of two distinct calligraphic forms: the running script (xingshu) and a particular form of clerical script (lishu) used in the Han era (206 BC - 220 AD).\r """ ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 8 ; write:relatedUnit ; write:transcriptionAndTranslation "The Barber of Seville"@en, "塞維利亞的理髮師"@zh, "塞维利亚的理发师"@zh, "Sāiwéilìyǎ de lǐfǎshī"@zh-Latn . a wd:Q464980 ; wdt:P10661 , ; wdt:P1476 "EAST AND WEST, PAST AND PRESENT: Zhang Aiguo & Silvio Ferragina – Contemporary Calligraphy Exhibition (东西今古 张爱国＆塞尔 维奥·费拉吉纳现代书法双个展)"@en, "Est e Ovest, passato e presente,: Zhang Aiguo e Silvio Ferragina. Mostra di calligrafia contemporanea "@it, "东西今古: 张爱国＆塞尔 维奥·费拉吉纳现代书法双个展"@zh, "Dōng xī jīn gǔ: Zhāng Àiguó & Sāi'ěrwéi'ào·Fèilājīnà xiàndài shūfǎ shuāng gè zhǎn"@zh-Latn ; wdt:P1640 ; wdt:P276 ; wdt:P580 "2024-07-02"^^xsd:date ; wdt:P582 "2024-07-16"^^xsd:date ; wdt:P664 ; write:description "The exhibition \"EAST AND WEST, PAST AND PRESENT: Zhang Aiguo & Silvio Ferragina – Contemporary Calligraphy Exhibition\", curated by Adriana Iezzi, Professor at the University of Bologna and Principal Investigator of the WRITE Project, was held at Artex – Center for Artistic and Traditional Crafts of Tuscany in Florence from July 2 to 16, 2024. This exhibition of new calligraphic works by contemporary artists Zhang Aiguo and Silvio Ferragina in Florence symbolizes not only an exchange and fusion between Eastern and Western cultures but also offers a three-dimensional exploration of the juxtaposition between ancient and modern times, as reflected in the exhibition's title." ; write:exhibitedArtwork . a write:CalliWritingUnit ; wdt:P180 , , , , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Inky Strings: Old Friends from Mountains and Rivers (山河故人)" ; write:description """This CWU is part of the performance realized by Echo Morgan held on October 29, 2023, at the International Museum and Library of Music in Bologna, as part of the collateral events related to the exhibition “Sounds of Ink: Luo Qi and 30 Years of Calligraphyism”. It consists of the four Chinese characters “Shan he gu ren 山河故人” (Old friends from mountains and rivers) that she shaped on her face. These characters are the original title of Jia Zhangke’s 2015 film, internationally known as "Mountains May Depart". It is a drama exploring memory, affection, and the social transformations of contemporary China. Set across three distinct periods, the film follows the 25-year-old shopkeeper Tao and the choices that separate her from both the men in her life and her son, Daole/Dollar. Through the growing geographical and emotional distance between mother and son, Jia reflects on globalization, cultural displacement, and the fragility of family bonds.\r Literally, the phrase "Shan he gu ren 山河故人" can be read as “mountains, rivers, and old friends”, evoking a sense of enduring landscapes set against the fragility of human relationships and time. Jia Zhangke’s choice of title reflects the film’s central concern with change, memory, and the passage of generations: the permanence of nature contrasts with the impermanence of human bonds and personal destinies. Echo inscribed these characters on her face by following the same iconographic style as the film’s official poster, thereby creating a visual and symbolic bridge between cinema and performance art. By appropriating Jia Zhangke’s cinematic language and re-situating it within her own body art practice, she reactivates the poetic resonance of "Shan he gu ren" in a new context marked by ecological urgency."""@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:relatedUnit ; write:transcriptionAndTranslation "Old friends from mountains and rivers"@en, "山河故人"@zh, "Shānhé gùrén"@zh-Latn . a wd:Q464980 ; wdt:P10661 , ; wdt:P1476 "12th Exhibition on Calligraphyism (第12届书法主义展)"@en, "第12届书法主义展"@zh, "Dì 12 jiè shūfǎ zhǔyì zhǎn"@zh-Latn ; wdt:P276 ; wdt:P580 "2016-10-20"^^xsd:date ; wdt:P582 "2016-10-23"^^xsd:date ; write:description "The 12th Exhibition on Calligraphyism (Di 12 jie shufa zhuyi zhan 第12届书法主义展) took place in Hangzhou in October 2016 and coincided with two musicaligraphy performances created by calligrapher Silvio Ferragina and musician and composer Alessandro Cerino."@en ; write:exhibitedArtwork , . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Ink Dance on the West Lake - Dialogue between Calligraphy and Dance (墨舞西湖—书法与舞蹈的对话) - Artwork"@en, " 墨舞西湖—书法与舞蹈的对话"@zh, "Mò wǔ xīhú—shūfǎ yǔ wǔdǎo de duìhuà"@zh-Latn ; wdt:P170 ; wdt:P180 , ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2011-10-31"^^xsd:date ; wdt:P941 ; sch:thumbnailUrl ; write:derivesFrom ; write:description "This artwork was realized during the performance by Wang Dongling held the 31st of October, 2011 at the Zhejiang Art Museum of Hangzhou. The content of the calligraphy realized by Wang Dongling is one of the two poems entitled “Drinking on West Lake First Shine After the Rain” (Yin hu shang chu qing hou yu 饮湖上初晴后雨) by Su Shi 苏轼 (1037-1101, better known as Su Dongpo 苏东坡), an eminent poet of the Song dynasty (960-1279). The poem describes the beauty of West Lake in Hangzhou, China, after a rain. It evokes vivid images of nature, highlighting the scenic beauty of the lake and its surroundings and reflecting on the interaction between man and nature. Characters are written in cursive script (cao shu) and praise the beauty of West Lake (Xihu 西湖)." ; write:hasVisualArtworkType ; write:hasColophon true ; write:hasSeal true ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Horses (马)"@en, "马"@zh, "Mǎ"@zh-Latn ; wdt:P170 ; wdt:P180 , , ; wdt:P186 , ; wdt:P2048 "70 cm" ; wdt:P2049 "66 cm" ; wdt:P462 , ; wdt:P571 "1990"^^xsd:gYear ; write:description "In this artwork, Gu Gan reimagines the character mǎ 马 (horse) using its ancient pictographic forms. The character is repeated across the paper, creating the impression of a moving herd of horses. Making use of the pictographic nature of Chinese writing, 'Horses' exemplifies \"pictorial/pictographic calligraphy\", where Chinese characters transforms into \"pictorial images,\" resembling stylized and primitive representations of their meaning. Even if viewers do not recognize them as Chinese characters, they can still appreciate the naïf charm and primal vitality of the imagery." ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Deer crying (鹿鸣)"@en, "鹿鸣"@zh, "Lùmíng"@zh-Latn ; wdt:P170 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P2048 "98 cm" ; wdt:P2049 "90 cm" ; wdt:P462 , , , , ; wdt:P571 "1990"^^xsd:gYear ; write:description """The work 'Deer crying' was realized by the artist Gu Gan in 1990. The artist reiterated the pictographic versions of the two characters of the title lu 鹿 ('deer') and ming 鸣 ('cry') to recreate the din of a herd of wailing deer. The addition of colors, such as brown, orange and yellow, accentuate the pictorial charge of the representation.\r The style is reminiscent of Joan Miró, and in fact Gu Gan was deeply influenced by this artist together with Kandinsky and Klee. The increasingly thinner brush strokes used by Gu Gan, the use of a line that seeks to hoard and manifest the beauty of form in all its splendor, the adoption of a “childish” language, the isolation of single element/character repeated and arranged in deliberate composition are all references to these Western avant-gardists. \r In November 1998, this work was featured in the European edition of Time magazine, as a testament to Gu Gan’s growing international recognition.""" ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a wd:Q7725310 ; wdt:P1071 , , , ; wdt:P1476 "Living Word Series (鸟飞了系列)"@en, "鸟飞了系列"@zh, "Niǎo fēi le xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "2001"^^xsd:gYear ; wdt:P582 "2022"^^xsd:gYear ; write:description """This series of installations (2001, 2002, and 2003) is composed of hundreds of plexiglass cutouts of the various forms of the character niao 鸟 (bird). The forms range from the most ancient “oracle bone script” (jiaguwen 甲骨文) to the modern standard, with each form rendered in a different color of the rainbow. The installation begins with a platform placed on the ground, displaying the dictionary definition of the word niao 鸟 (bird). From there, the character "takes flight", rising into the air of the installation spaces, and breaking free from the confines of linguistic and literal definition. As the forms rise, the character undergoes a transformation from its modern simplified form to non-simplified traditional forms, written in various calligraphic styles, and finally into the ancient Chinese pictograph for “bird”. This journey is not just a physical ascent but a metaphorical journey through time and space, retracing the entire history of Chinese writing from its roots. The dynamic arrangement emphasizes both the linguistic and artistic evolution of the character, exploring its structure, definition, and transformation across time. Its rainbow colors create a magical and fairy-tale quality. This installation is a flying 'flock of birds' and at the same time an 'animated writing': the linguistic sign frees itself from the preceptive constraints of writing to transform itself into something else, into something more alive and authentic. This transformation is made possible by the unique formal evolution of Chinese writing. Its pictographic origins allow it to recover its original form and, in doing so to come alive once again. \r The last version of this installation was made in 2021-22 for the Shanghai Library East Collection and it is composed of more than 800 "bird" characters written in different styles of Square World Calligraphy—an innovative form of writing designed by Xu Bing, fashioning English letters in a manner that imitates Chinese square characters. The characters hover from a book placed on a big table with the English definition of the word "bird". Differently from the other installations, the characters are all white. """ ; write:includesArtwork . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Knowing and Doing (知行)"@en, "知行"@zh, "Zhī-xíng"@zh-Latn ; wdt:P170 ; wdt:P180 , , , , , , ; wdt:P186 , ; wdt:P2048 "65 cm" ; wdt:P2049 "65 cm" ; wdt:P462 , , , , , , ; wdt:P571 "2011"^^xsd:gYear ; wdt:P941 ; sch:thumbnailUrl ; write:description """Taking inspiration from a particular form of seal script called “bird seal script” (niao zhuan 鸟篆), in this artwork, Pu Lieping transcribes the two characters of the title "Zhi-xing 知行" (Knowing and doing) transforming the strokes of each character into heads of birds, bodies of fishes, profiles of horses, swimming turtles, flower stems and corollas, depicting an imaginative natural scenario that seems to have nothing to do with Chinese characters. The “bird seal script” is a kind of artistic script in common use during the late Warring States period (475-221 BC) characterized by avian elaborations decorating each character. In this script the lines are gently and intricately curved and decorated with bird design, the strokes are replaced by bird shapes and the writing possesses a unique decorative style. \r The title of the artwork is reference to the expression "zhi-xing he yi 知行合一" (unity of knowledge and action), usually abbreviated to the two words "zhi-xing 知行". This is a concept in Chinese philosophy created by Wang Yangming (1472-1529), who is astatesman, general, Neo–Confucian philosopher, and calligrapher during the Ming dynasty (1368-1644). It means that knowledge and action should go together and help each other. This idea says that only by behaving well can someone become wise and it is a denial of the possibility of weakness of will. """ ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , , , , , , ; wdt:P186 ; wdt:P282 , , ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU2 Living Word (鸟）" ; write:description """This CWU is the dictionary definition of the word niǎo 鸟 (鳥; bird) transcribed on a platform placed on the ground from which various forms of the character departs into the sky, breaking away from the confines of the literal definition and taking flight through the installation space. \r The dictionary entry includes: 1) the pronunciation of the character transcribed with two transliteration systems of Mandarin Chinese, the romanization system called pinyin (拼音), and the Bopomofo, also called Zhuyin Fuhao (注音符号); and 2) the definition of the word "bird". """ ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm , ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:numberOfCharacters 50 ; write:relatedUnit ; write:transcriptionAndTranslation "Bird: (niǎo ㄋIㄠ) A class of vertebrate animals, warm-blooded, oviparous (egg-laying), breathing with lungs, covered in feathers. Their hind limbs are adapted for walking, and their forelimbs typically transform into wings for flying."@en, "鸟（鳥）: niǎoㄋIㄠ 脊椎动物的一类，温血卵生，用肺呼吸，全身有羽毛，后肢能行走，一般前肢变为翅能飞。"@zh, "Niǎo (ㄋIㄠ): jǐzhuī dòngwù de yī lèi, wēn xuè luǎnshēng, yòng fèi hūxī, quánshēn yǒu yǔmáo, hòuzhī néng xíngzǒu, yībān qiánzhī biàn wèi chì néng fēi."@zh-Latn . a wd:Q17514 ; wdt:P1476 "Kwanyin (观音)"@en, "觀音"@zh, "观音"@zh, "Guānyīn"@zh-Latn ; wdt:P170 ; wdt:P180 ; wdt:P186 , ; wdt:P276 ; wdt:P462 ; sch:thumbnailUrl ; write:description """In this tag, the Kwanyin Clan wrote the two characters of their Chinese name "Guanyin 觀音" in a very pictographic manner. They reproduced the regular thickness of the lines typical of the calligraphic “great seal style” (dazhuan shu 大篆书) and wrote the two characters reshaping their pictographic forms. They transformed the right part of the first character "Guan 觀" into a face with two big eyes – the meaning of the character is, in fact, “look at, watch, observe”, and the lower part of the second character yin 音 into an open mouth – the meaning of the character is, in fact, “phone, sound”. \r The two characters "Guanyin 观 音" explicitly refers to the Bodhisattva Guanyin (Guanyin Pusa 观音菩萨), one of the most important deities in the Buddhist pantheon. Guanyin the Chinese counterpart of the Indian bodhisattva of compassion Avalokiteśvara. The crew’s choice of naming themselves after this sage is due to the fact that, ever since Buddhism spread throughout China during the Tang dynasty (618-907), Guanyin became the most popular bodhisattva in the empire, among the many introduced to China, and continues to be so. This is because, to adapt to the new situation, he underwent major transformations that led him to change his features from male to female. The choice of the name Kwanyin thus implies the founding idea of the crew, according to which graffiti artists, who come from a foreign culture, need to first integrate and merge with Chinese culture and society, to “sinicize” themselves, if they want to be known and loved like the bodhisattva whose name they bear.""" ; write:hasChengyu false ; write:hasChineseConcept ; write:hasColophon false ; write:hasGraffitiGenre ; write:hasGraffitiStyle ; write:hasGraffitiType ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Tracing the Origin (溯源)"@en, "溯源"@zh, "Sùyuán"@zh-Latn ; wdt:P170 ; wdt:P580 "2000"^^xsd:gYear ; wdt:P582 "2016"^^xsd:gYear ; wdt:P973 ; write:description """The series "Tracing the Origin" is composed of installations made of copper wires and pins that reproduce an asemic "script" revoking the forms of Chinese calligraphy but totally unreadable. The artist generally uses white or black walls, or etched copper as support. She also uses copper wires or sand and adhesive on board, such as in "Tracing the Origin XVII" (2012) commissioned by Socrates Sculpture Park in New York. \r In this series, Cui Fei forcefully conveys both the relevance of nature, using natural materials, and her cultural and national origins, recalling Chinese calligraphy and adopting metallurgical techniques that suggest the Chinese Bronze Age. \r The series "Tracing the Origin" together with another series titled "Manuscript of the Nature" (1999-2010) and the work "Not Yet Titled" (2009) where she shapes asemic writings, are reminiscent of similar experiments made by her fellow émigrés, such as Xu Bing, Wenda Gu, and Qiu Zhijie, who work to subvert existing Chinese traditions through linguistic distortion. In all these series, using natural materials, Cui also points to the natural “roots” of Chinese linguistic and artistic traditions.""" ; write:includesArtwork . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Neon Calligraphy Series (霓虹灯书法系列)"@en, "霓虹灯书法系列"@zh, "Níhóngdēng shūfǎ xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "2004"^^xsd:gYear ; wdt:P582 "2007"^^xsd:gYear ; sch:thumbnailUrl ; write:description "The “Neon Calligraphy Series” consists of site-specific neon light installations, typically commissioned by and for institutions (University of Pittsburgh, 2004), corporations (Sotheby’s, 2005), and brands (Ferragamo, 2004). Each installation is made of neon light tubes, plexiglass and transformers, which are used to write Chinese characters, written in the artist’s own regular style, and Latin letters. The artist uses red and yellow in the artworks of the series, the same colors of the Chinese flag, which are also employed in other works, such as those of the \"Heavenly Lantern Series\". Gu Wenda transforms English names in a poetic way through a creative process he calls “Complex English–Chinese Translation”, already employed for the “Forest of Stone Steles”. Starting from the English name of the institution, corporation, or brand in the upper register, the artist transliterates each syllable’s sound into Chinese characters. Then, in the lower register, the artist produces new English translations for each single Chinese character. This process highlights the challenges of linguistic and cultural translation in the era of globalization. Chinese writing and calligraphy function as a conceptual device: the linguistic contacts make them shift from the local Chinese frame to a global field. " ; sch:image ; write:includesArtwork . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Jie: Chinese Knot Series (中国结系列) "@en, "中国结系列"@zh, "Zhōngguó jié xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "2022-06"^^xsd:gYearMonth ; wdt:P582 "2022-07"^^xsd:gYearMonth ; sch:thumbnailUrl ; write:description """The series entitled “Jie: Chinese Knot” (Zhongguo jie 中国结) is divided into six moments: \r 1) “Chinese Knot - Chapter One: Become Little Plum Blossom” (Jie - di yi zhang: Bian cheng xiaohua mei 结 - 第一章 : 变成小花梅), where the artist completely paints her body first using a base of white makeup and, later, covers herself with red plum blossoms that she has drawn herself.\r 2) “Chinese Knot - Chapter Two: Know Her Name, Remember Her Name” (Jie - di er zhang: Zhixiao ta xingming, laoji ta xingming 结 - 第二章 : 知晓她姓名, 牢记她姓名) where the artist, with her body completely painted in red plum blossoms, approaches long bright red drapes hanging from the ceiling of the open space used for the performance, tying them around her neck.\r 3) Chinese Knot - Chapter Three : She/Her (Jie - Di san zhang: Ta 结 - 第三章 : 她) where Echo uses her body as a canvas, painting it white and writing Chinese characters in red ink. These characters represent both historical and contemporary attitudes towards women in China. Specifically, she writes derogatory words, many of which contain the character "nü" (female), highlighting the misogynistic culture embedded in these terms.\r 4) “Chinese Knot - Chapter Four: The Non-interchangeable Body” (Jie - di si zhang: Buke hu huan de shenti 结 - 第四章 : 不可互换的身体) where the artist, together with her husband and photographer Jamie Baker, creates a timelapse of her earlier body paint preparation.\r 5) “Chinese Knot - Chapter Five: Red Planet” (Jie - di wu zhang: Hongse xingqiu 结 - 第五章 : 红色星球) where Echo Morgan paints her body completely red and, wearing a large red Chinese knot attached to her neck, positions herself in front of the long bright red drapes.\r 6) “Chinese Knot - Chapter Six: Viennese Theater” (Jie - di liu zhang: Weiyena juyuan 结 - 第六章 : 维也纳剧院), in which Echo, after painting her body with Chinese characters that have misogynistic meanings, wraps herself again in the long bright red drapes, this time also voicing words aloud while her body is completely immobilized. """ ; sch:image ; write:includesArtwork . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Festival Perform"@en ; wdt:P1640 ; wdt:P276 ; wdt:P580 "2022-08-19"^^xsd:date ; wdt:P582 "2022-08-19"^^xsd:date ; wdt:P856 ; write:description "The Festival Perform, led by the French artistic director Sarah Trouche, celebrates performance in all its forms, focusing on contemporary art, dance, and digital art. Held annually, the festival aims to unite generations and communities through creative experiences. Trouche's vision for performance is to create a space for shared emotions and unique moments between the artists and audiences." ; write:exhibitedArtwork . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Bald Girls Exhibition (秃頭戈女)"@en, "秃頭戈女"@zh, "Tūtóu gē nǚ"@zh-Latn ; wdt:P276 ; wdt:P580 "2012"^^xsd:gYear ; wdt:P582 "2012"^^xsd:gYear ; write:description """This exhibition was held at the Iberia Contemporary Art Space in Beijing 798 in 2012. Bald Girls, was a three-woman show that boldly addressed feminism and gender identity in China. The three artists—Li Xinmo, Xiao Lu, and Lan Jiny—declared it to be China's first feminist art exhibition.\r The exhibition even featured a short story by Herta Müller, the 2009 Nobel Prize winner in literature, who expressed her concerns about the state of feminism in China. The name “Bald Girls” is also based on the homonymous famous play “La Cantatrice chauve”, translated from French as “The Bald Soprano” or “The Bald Prima Donna” written in the 1930s by Eugène Ionesco (1909-1994), a French playwright of the Theatre of the Absurd. Replacing the “song” with the “dagger-axe”, the exhibition takes the form of a metaphor for the lived reality of women in China aiming that “in China female art is still something new” and “artists have to turn to arms instead of entertainment”. Starting from 2012, Bald Girls has evolved from an exhibition into a base for promoting the development of cutting-edge feminist art, founding the Bald Girls website and journal to serve as an outlet and a medium for the voice of female artists in China. \r During the opening ceremony, Xiao Lu invites her collaborators to shave their heads recalling the image of the three bald women visible on the exhibition poster.""" ; write:exhibitedArtwork . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "4th Kochi-Muziris Biennale: Possibilities for a Non-Alienated Life"@en ; wdt:P1640 ; wdt:P276 ; wdt:P580 "2018-12-12"^^xsd:date ; wdt:P582 "2019-03-29"^^xsd:date ; write:description """The exhibition Possibilities for a Non-Alienated Life at the Kochi-Muziris Biennale (December 12, 2018 – March 29, 2019) explores themes of body, sensuality, and relationships, with works such as those by Marlene Dumas. Curator Anita Dube, inspired by Guy Debord's theories on the dominance of images, focused the Biennale on the Global South, including marginalized craft and folkloric practices, such as those by Bapi Das, an auto-rickshaw driver who embroiders scenes from his daily life.\r In this context, Song Dong's Writing Diary with Water, also on display in Kochi, explores the impermanence of the world through an interactive installation. Paintbrushes immersed in water invite visitors to draw marks on a translucent wall, but the traces fade over time, symbolizing the fleeting nature of everything. The work encourages reflection on alienation and the passage of time, with mirrored floors emphasizing the idea that reality is temporary, and every trace disappears when the person interacting with the piece leaves. Both exhibitions, while addressing different themes, share a focus on the inevitability of change and impermanence.""" ; write:exhibitedArtwork . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "10th Asia Contemporary Art Week (ACAW) 2015"@en ; wdt:P276 ; wdt:P580 "2015-10-28"^^xsd:date ; wdt:P582 "2015-11-08"^^xsd:date ; write:description "The 10th edition of the \"Asia Contemporary Art Week (ACAW)\" was held from October 28 to November 8, 2015, in collaboration with over 40 New York and Asia-based art institutions, spotlighting over 150 artists from all regions of Asia."@en ; write:exhibitedArtwork . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Huang Yeda 黄业达" ; wdt:P27 ; wdt:P569 "1990-05-14"^^xsd:date ; wdt:P742 "Huang Ji (黄几)" ; wdt:P800 , ; wdt:P812 , ; wdt:P937 , ; sch:thumbnailUrl ; write:description """Huang Yeda (黄业达), also known as Huang Ji (黄几), was born in 1990 in Yangjiang, Guangdong. He graduated from the Guangzhou Academy of Fine Arts in 2016 with a master's degree from the School of Chinese Painting. Since 2020, he has been pursuing a PhD at the China Academy of Art’s School of Chinese Painting and Calligraphy, under the mentorship of Professor Wang Dongling. He is currently an adjunct teacher at the Guangzhou Academy of Fine Arts, and lives between Hangzhou and Guangzhou.\r Huang Yeda’s artistic practice is rooted in cross-media conceptual approaches, emphasizing the excavation of traditional cultural contexts and critical reflections on established narratives. His work often explores the interplay between the ordinary and the extraordinary, examining the relationship between diverse cultures and the human condition. Engaging with contemporary calligraphy, new ink painting, video, and installation, his work investigates the intersections of visual form and narrative structure, reinterpreting classical aesthetics within a modern framework.""" ; write:hasCalligraphicTraining "Academic"@en ; sch:image . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 , ; write:attributedTitle "CWU The Music of Ink at the British Museum - Cursive Writing Poetry (草书歌行)" ; write:description "This CWU is part of the artwork created during the musicalligraphy performance entitled \"The Music of Ink at the British Museum - Cursive Writing Poetry (草书歌行)\", held during the event \"The Music of Ink at the British Museum\" on June 18, 2005. Its content is a famous poem from the Tang dynasty written by Li Bai (701 – 762), titled “Cursive writing poetry” (Cao shu ge xing 草书歌行). The poem is written in wild cursive script (kuangcao), using the feibai (flying white) technique. The poem, with its romantic tone and unique imagination, vividly recreates a scene of the calligrapher Huaisu drunkenly and passionately waving his brush, writing in a wild and exuberant manner. It carefully and wonderfully portrays Huaisu's bold and expressive personality traits. The entire poem vividly captures Huaisu’s free-spirited, passionate, and exuberant character. It holds significant reference value for later studies on Huaisu’s cursive script art. In this poem, Li Bai describes calligraphy as music. As Zeng Laide explained: \"In Chinese, the title of the poem is Cao shu ge xing. 'Ge xing' means music; ‘cao shu’ refers to a type of calligraphy, specifically the grass script style. Thus, the poem and the calligraphy bring together the classical, the contemporary, and the creative\" (Wang 2012, pp. 69-70)." ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 218 ; write:transcriptionAndTranslation """So talented, the young monk named Huaisu \r His grass script is unique upon this earth.\r His inkpools shoot out fish from the darkest north\r His brush-tips kill off hares in the Zhongshan mountains.\r In the autumn months when the weather turns cool\r His drinking friends and writers fill the hall.\r Cream silk, pale hemp, piled up in the side-room \r Ink glistening on the special Xuanzhou inkstone.\r Our master, drunk, steadies himself on the rope bench \r In a moment be'll sweep through a thousand sheets:\r The soughing, howling of gales blowing, rain pelting \r The boundless flurry of petals falling, snowflakes flying.\r He stands to face the wall, his hand moves fast \r A line of characters large as grain-barrels.\r Bewitched as though the spirits are a-calling \r In an instance I see a snake and dragon fee \r Coil, flinch and dodge the lightning strokes \r This calligraphy is the Chu-Han battleground.\r Our master's script is proudly placed on all the doors \r Of all the homes in all of Hunan.\r o and Zhang Boying, old masters who had earned their names \r And Zhang Dian, now dead, cannot be counted.\r Of all the thousand things, the most important \r Is not to follow the ancients, but to follow nature's way.\r There is no need to call for Madam Gongsun \r To inspire us with her sword dance."""@en, """少年上人号怀素, 草书天下称独步。\r 墨池飞出北溟鱼，笔锋杀尽中山兔。\r 八月九月天气凉，酒徒词客满高堂。\r 笺麻素绢排数箱，宣州石砚墨色光。\r 吾师醉后倚绳床，须臾扫尽数千张。\r 飘风骤雨惊飒飒，落花飞雪何茫茫！\r 起来向壁不停手，一行数字大如斗。\r 怳怳如闻神鬼惊，时时只见龙蛇走。\r 左盘右蹙如惊电，状同楚汉相攻战。\r 湖南七郡凡几家，家家屏障书题遍。\r 王逸少、张伯英，古来几许浪得名。\r 张颠老死不足数，我师此义不师古。\r 古来万事贵天生，何必要公孙大娘浑脱舞。"""@zh, """Shàonián shàng rén hào huái sù, cǎoshū tiānxià chēng dúbù. \r Mò chí fēi chū běi míng yú, bǐfēng shā jǐn zhōngshān tù. \r Bā yuè jiǔ yuè tiānqì liáng, jiǔtú cí kè mǎn gāotáng. \r Jiān má sù juàn pái shù xiāng, xuān zhōu shí yàn mòsè guāng. \r Wú shī zuì hòu yǐ shéng chuáng, xūyú sǎo jìnshù qiānzhang. \r Piāo fēng zhòu yǔ jīng sàsà, luòhuā fēi xuě hé mángmáng! \r Qǐlái xiàng bì bù tíngshǒu, yīxíng shǔ zì dà rú dòu. \r Huǎng huǎng rú wén shén guǐ jīng, shíshí zhǐ jiàn lóng shé zǒu. \r Zuǒ pán yòu cù rú jīng diàn, zhuàng tóng chǔ hàn xiāng gōng zhàn. \r Húnán qī jùn fán jǐ jiā, jiā jiā píngzhàng shū tí biàn. \r Wáng yì shǎo, zhāngbóyīng, gǔlái jǐxǔ làng dé míng. \r Zhāng diān lǎosǐ bùzú shù, wǒ shī cǐ yì bù shī gǔ. \r Gǔlái wànshì guì tiānshēng, hébì yào gōngsūn dàniáng hún tuō wǔ."""@zh-Latn . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "The Music of Ink"@en ; wdt:P276 ; wdt:P580 "2005-06-18"^^xsd:date ; wdt:P582 "2005-06-18"^^xsd:date ; wdt:P664 ; write:description "“The Music of Ink”, a completely experimental day held at the British Museum in London. The event brought together contemporary artists from Beijing, Dublin, and London: literary artists Yang Lian 楊煉 (b. 1955) and Romesh Gunesekera (b.1954); visual artists Qu Lei Lei 曲磊磊 (b. 1951) and Denis Brown (b. 1968); and performing artists Zeng Laide and Rohan de Saram (1939-2024). The artists were invited to explore their works in pairs in any way and form, investigating the creative links between the classical and contemporary, particularly regarding China. " ; write:exhibitedArtwork . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "Writing Time with Water (水写时间一个多小时)"@en, "水写时间一个多小时"@zh, "Shuǐ xiě shíjiān yīgè duō xiǎoshí"@zh-Latn ; wdt:P175 ; wdt:P179 ; wdt:P180 , , , , , ; wdt:P186 wd:Q22657, wd:Q283 ; wdt:P2047 "PT1H"^^xsd:duration ; wdt:P276 ; wdt:P585 "2000"^^xsd:gYear ; write:description """In this performance, Song Dong uses a brush dipped in water to write on the ground of a London street the exact time of the different moments of its execution (hours, minutes, seconds) in order to stop time from dissolving. The performance lasts for about one hour, during which the water written numbers instantly evaporate. Within this hurried setting, Song Dongs modest gesture compels us to focus on the present by exposing our unthinking consumption of time. Writing Time with Water is a compelling example of Song Dongs interest in context and ritual. The performance stems from the artist's series "Writing Diary with Water". \r \r """@en ; write:hasPerformingArtworkType ; write:madeUsingTool wd:Q614467 . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Cursive Momentum (草书势)"@en, "草书势"@zh, "Cǎoshū shì"@zh-Latn ; wdt:P170 ; wdt:P2048 "3 m" ; wdt:P2049 "2 m" ; wdt:P571 "2010"^^xsd:gYear ; wdt:P608 ; wdt:P941 ; write:description """The artwork "Cursive Momentum (Caoshu shi 草书势)" by Lu Dadong is a collage of 12 frames of a video in which the artist using a long strip of paper creates different forms that look like calligraphic brushstrokes. These brushstrokes revoke cursive script, and the use of cursive script as both the subject and title of the work emphasizes the rhythmic qualities of calligraphic lines. Blending traditional Chinese cursive calligraphy with modern abstract aesthetics and technology, "Cursive Momentum" captures the dynamic motion of calligraphy writing, recording the physical act of brush movement through video technology. This approach highlights the expressive rhythm of the strokes—rising and falling, flowing and pausing. The work integrates the fundamental expressive elements of traditional calligraphy, such as variations in speed and pressure, while also reflecting the abstract linear aesthetics found in Western modernist art, particularly the rhythmic line theories of Wassily Kandinsky. By starting from the foundation of traditional calligraphy and incorporating both Eastern and Western understandings of line and movement, Lu Dadong uses high-tech methods to reinforce the theme of the work, creating a fusion of classical and contemporary artistic language (Wang Jianing 2014: 31-2). \r Cursive Momentum falls within the category of “non-written forms” in modern calligraphy, where traditional brushwork is replaced by contemporary digital, multimedia, and technological techniques. It is a mixed-media conceptual work that utilizes digital imagery, computer art, and audiovisual elements instead of the conventional execution of ink-on-paper. """ ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Civilizations 2 (lines)" ; write:description "This CWU consists of the abstract black ink splashes and strokes creating a dynamic contrast against the background written in Arabic, with an expressive and fluid script, in the folded panel entitled Civilization 2 realized by Qin Feng in 2004, as part of the series entitled Civilization Landscape." ; write:directionality "Unidentifiable" ; write:hasBackgroundColour , ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:relatedUnit . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 (Arabic text)" ; write:description "This CWU consists of the Arabic text written with an expressive and fluid script in the folded panel entitled Civilization 2 realized by Qin Feng in 2004, as part of the series entitled Civilization Landscape." ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:relatedUnit . a wd:Q7725310 ; wdt:P1071 , , , , ; wdt:P1476 "Writing Time with Water Series (水写时间一个多小时系列)"@en, "水写时间一个多小时系列"@zh, "Shuǐ xiě shíjiān yīgè duō xiǎoshí xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "1995"^^xsd:gYear ; wdt:P582 "2010"^^xsd:gYear ; write:description """In this series, Song Dong uses a brush dipped in water to write on street pavements the exact time of the different moments of its execution (hours, minutes, seconds) in order to stop time from dissolving. During these performances the water written numbers instantly evaporate. Within the city hurried settings chosen by Song Dong, the artist's modest gesture compels us to focus on the present by exposing our unthinking consumption of time. "Writing Time with Water" is a compelling example of Song Dong's interest in context and ritual. These performances stem from the artist's series "Writing Diary with Water". \r The series took place in different cities of the world: Beijing (1995), London (2000), Sidney (2002), Brisbane (2002-2003), New York (2005), and Chambelltown (2010). \r Another performance inspired by the same themes of this series is "Recording a Millennium in Water" (Shui\r xie qian nian 水写千年, 1999-2000). This performance lasts 24 hours from 8 p.m. of December 31st, 1999 to 8 p.m. of January 1st, 2000. When each time zone of the earth reached midnight of the new millennium, Song Dong wrote the exact time on a stone with a brush dipped with water. \r """@en ; write:includesArtwork . a wd:Q7725310 ; wdt:P1071 , ; wdt:P1476 "Stone Path Series (石径系列)"@en, "石径系列"@zh, "Shí jìng xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "2008"^^xsd:gYear ; write:description """The Stone Path Series (石径系列) by Xu Bing (徐冰) is a sculptural/installation artwork created for the first time in 2008, and realized again in 2018, exhibited at the Staatliche Kunstsammlungen Dresden (SKD), Germany. The series consists of carved stone pieces, particularly river rocks (鹅卵石), with dimensions varying across different pieces, such as 52 x 42 x 26 cm, 61 x 41 x 27 cm, and similar sizes.\r The choice of river rocks, natural yet altered by human intervention, suggests themes of transformation, permanence, and the dialogue between natural landscapes and human cultural expression.\r \r Rielaborating Stone Path and Square Word Calligraphy, Xu bing furtherly realized also two other installations:\r - Xu Bing’s Writings at Helin Temple (2015), installed at Forsyth Plaza in NYC, merges Square Word Calligraphy with the surrounding nature, architecture, and art, creating a space for reflection by blending traditional and modern elements.\r - Poem Stone Chairs (2019), placed at Beijing Daxing International Airport, feature poems carved on stone chairs in his signature style. """ ; write:includesArtwork . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Equality of Things - Fruit (齐物-果实)"@en, "齐物-果实"@zh, "Qíwù - Guǒshí"@zh-Latn ; wdt:P170 ; wdt:P580 "2012"^^xsd:gYear ; wdt:P582 "2019"^^xsd:gYear ; sch:thumbnailUrl ; write:description "The series “Equality of Things - Fruit” was born from the photographic project “Material Immaterial - Fruit” (物非物-果实) in 2010 and later reinterpreted using calligraphy starting from 2012 by Chu Chu. In this work, all traces of photography disappear and are replaced by calligraphy. Through the execution of the characters arranged vertically, in more or less tight rows and in cursive style, the artist succeeds in delineating the subject of the original photograph, different fruits in a state of decomposition. The opposition that arises from observing first the photographic work and then the calligraphic work makes clearer the sense of materiality and immateriality of matter recalled by the artist in the \"Material Immaterial\" series of works. In the series \"Equality of things - Fruit\", as the title suggests, the calligraphic artist wrote proposes parts of the chapter from the \"Zhuangzi\" entitled “Discourse on the Equality of All Things” (Qiwulun 齐物论). This text, through parables and allegories, explains how reality is dense with relativism and the human tendency to separate the world into categories (e.g., right vs. wrong). Through this text, Chu Chu reflects on the way we observe things and approach them." ; sch:image ; write:includesArtwork . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P9302 ; write:attributedTitle "CWU Stamping the Water / Printing on Water (水)" ; write:description "The character shui 水 is carved in a large block of wood to create a seal that is used during Song Dong's performance entitled \"Stamping the Water\". During this performance, this character is repeatedly \"printed\" on water. "@en ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; write:isUnitOf , ; write:madeUsingTool , ; write:transcriptionAndTranslation "Water"@en, "水"@zh, "shuǐ"@zh-Latn . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Translating Visuality - Gu Wenda: Forest of Stone Steles, Retranslation & Rewriting of Tang Poetry (文化翻譯: 古文達《碑林 - 唐詩後著》)"@en, "文化翻譯: 古文達《碑林 - 唐詩後著》"@zh, "Wénhuà fānyì: Gǔ Wéndá 《Bēilín - Táng shī hòu zhù》"@zh-Latn ; wdt:P1640 ; wdt:P276 ; wdt:P580 "2005"^^xsd:gYear ; wdt:P582 "2005"^^xsd:gYear ; write:description "The exhibition \"Translating Visuality - Gu Wenda: Forest of Stone Steles, Retranslation & Rewriting of Tang Poetry\" showcases the project Forest of Stone Steles, Retranslation & Rewriting of Tang Poetry (1993-2005) by Gu Wenda. Since its completion, the Forest of Stone Steles was exhibited in several locations in Australia, America and Hong Kong. The exhibition held at OCT Contemporary Art Terminal of He Xiang Ning Art Museum in Shenzhen (2005) was the first to display the entire series of works. The exhibition takes the theme of 'Cultural Translation' as its subject, and intends to explore the cultural meaning of this monumental works." ; write:exhibitedArtwork . a wd:Q7725310 ; wdt:P1071 , ; wdt:P1476 "Brilliant Star (璀璨的星)"@en, "璀璨的星"@zh, "Cuǐcàn de xīng"@zh-Latn ; wdt:P170 ; wdt:P580 "2016"^^xsd:gYear ; wdt:P582 "2022"^^xsd:gYear ; sch:thumbnailUrl ; write:description "This series consists of photographs taken by Chu Chu at West Lake in Hangzhou, layered with colorful cursive-style writing in post-production. Each piece was then re-photographed again and further overlaid with an additional layer of handwritten, colorful text. The series aims to illustrate the different stages of life and the passage of time throughout the year, marked by the changing seasons with budding of flowers, growth of plants and fruit production. " ; sch:image ; write:includesArtwork . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Manuscript of Nature (自然的手稿)"@en, "自然的手稿"@zh, "Zìrán de shǒugǎo"@zh-Latn ; wdt:P170 ; wdt:P580 "1999"^^xsd:gYear ; wdt:P973 ; write:description """Cui Fei’s “Manuscript of Nature” series (1999-present) assembles organic material on boards. The resulting panels recall calligraphic formats, yet they remain uninscribed. Leaves, thorns, beans, sprouting seeds, and tendrils are typically arranged in vertical columns to evoke strokes and dots. These can be “read” from top to bottom, from right to left, as happens in traditional calligraphy, but the chance of being effectively able to “read” these works is slim at best (Chávez 2010). The echo of conventional calligraphic structure is emphasized by white gaps which act as pauses, and shorter side blocks which recall colophon-scale addenda in traditional calligraphy.\r Thorns are central within the series (Letter IV, 2009; Manuscript of Nature VIII, 2010; Manuscript of Nature VIII_III, 2016), they are used in thousands to create constellations of serial, character-like units pinned onto panels in strict rows (Chávez 2010). In other works, Cui Fei uses beans and seeds (Manuscript of Nature VI, 2007; Manuscript of Nature VI_III, 2022) fixed on paper to form dotted syntaxes. Their spacing evokes Braille, but these works stay within visual poetics rather than literal legibility. A related strategy appears in Letter V (2009), where sprouting seeds generate curved, looping lines are reminiscent of cursive calligraphic stroke. The same approach is used in the works of the “Tracing the Origin” series with the only difference that in this second series, copper wires are artificially bent into calligraphy-like forms by the artist, while here is authored by a natural process (Goodman 2011, 104). The natural process of changes and transformation is a topic further explored in other artworks of the “Manuscript of Nature” series, and in particular using driftwood and rust, such as in “Leaves” (2014) and in “The Journey of Transformation” (2015).""" ; write:includesArtwork . a write:TraditionalArtwork ; wdt:P1476 " The Book of the Way and Its Virtue (道德经; 23 scrools)"@en, "道德经"@zh, "Dào dé jīng"@zh-Latn ; wdt:P170 ; wdt:P571 "2021"^^xsd:gYear ; write:description "The 23 scrools forming the Dao De Jing have been used in occasion of the performance \"Calligraphy generated by body data\" realized by Wang Dongling. This piece consists of an installation featuring 23 massive scrolls descending form above and depicting verses by the \"Dao De Jing\" realized by Wang Dongling with black ink on white paper. Each scroll measuring 9 meters in length and suspended at a height of 2.5 meters above the ground. The scrolls are arranged in order to create a visual reminiscent of an ancient forest of stone steles fallen from the sky. The monumental presence of the installation with words of ancient wisdom imbues the space with a sense of vastness and weight. " ; write:hasTraditionalArtworkType , . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Writing Landscapes (书山水)"@en, "书山水"@zh, "Shū shānshuǐ"@zh-Latn ; wdt:P170 ; wdt:P580 "2015"^^xsd:gYear ; sch:thumbnailUrl ; write:description """In this series (2015-ongoing), Chu Chu reinterprets the visual language of traditional Chinese landscape paintings (shanshui 山水). She transforms calligraphic brushstrokes and Chinese characters written in cursive script into different pictorial landscape of mountains and streams. The compositions evoke the structural rhythm of landscape painting while remaining grounded in the gestural dynamics of calligraphy.\r The series includes both fan-shaped compositions and extended scroll formats. The pieces draw inspiration from classical Chinese painting and calligraphic treatises, while the landscapes inherit the scroll-like compositional logic. Among the principal references are the Yuan dynasty scroll "Dwelling in the Fuchun Mountains" (Fuchun shan ju tu 富春山居图) attributed to Huang Gongwang 黄公望 (1269–1354); "Summer Mountains" (Xiashan tu 夏山图) of the Five Dynasties period, associated with Dong Yuan 董源 (932–962); "Endless Streams and Mountains" (Xishan wujin tu 溪山无尽图) of the Qing dynasty by Gong Xian 龚贤 (1619-1689); "Searching All the Strange Mountains for Sketches" (Sou jin qi shan da caogao 搜尽奇山打草稿), a work connected to the landscape theory and practice of Shi Tao 石涛 (1642-1707).""" ; sch:image ; write:includesArtwork . a wd:Q464980 ; wdt:P10661 , ; wdt:P1476 "Writing Non-Writing: The Third Hangzhou International Modern Calligraphy Exhibition (2015)"@en ; wdt:P1640 ; wdt:P276 , ; wdt:P580 "2015-05-08"^^xsd:date ; wdt:P582 "2015-05-19"^^xsd:date ; wdt:P856 ; write:description """"Writing Non-Writing: The Third Hangzhou International Modern Calligraphy Exhibition" was held at the Art Museum of the China Academy of Art in Hangzhou from May 8 to May 19, 2015. The exhibition featured the works of over 100 artists from 20 countries.\r The exhibition was divided into four parts: “Writing Non-Writing: The Third Hangzhou International Modern Calligraphy Exhibition”, “Writing Non-Writing: Documentary Exhibition”, “Writing Non-Writing: Calligraphy of Wang Dongling”, and “Writing Non-Writing Forum: The Context of Modern Calligraphy.”""" ; write:exhibitedArtwork . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Mengbo 2012 (梦波贰零壹贰)"@en, "梦波贰零壹贰"@zh, "Mèngbō èr líng yī èr"@zh-Latn ; wdt:P276 , ; wdt:P580 "2011-10-29"^^xsd:date ; wdt:P582 "2011-11-12"^^xsd:date ; write:description """"Mengbo 2012" was Feng Mengbo's solo exhibition held in 2011 at the Today Art Museum in Beijing. The exhibited artworks included "Mortal Kombat (True Fighter)", "Q2012", a dance-based interactive game, and "Eye Charts". \r "Mortal Kombat (True Fighter)" (Zhen ren kuai da zhi qian zhuan: hua quan xiu tui 真人快打之前传：花拳绣腿) is an interactive video installation in which Feng Mengbo digitizes himself, his family, and friends into arcade-style fighting game characters. Each figure is animated from a sequence of thousands of still photographs, merging nostalgic 8-bit aesthetics with martial arts parody and self-portraiture. Using Holovision technology, the three-dimensional moving images are projected onto a stage set designed to resemble the rural-urban outskirts of Beijing. \r "Q2012" is an evolution of the artist's earlier work "Q2008", built on the Quake III Arena game engine. It transforms the interactive mechanics of a first-person shooter into a form of digital action painting, where audience members use a dance pad to navigate and create visual traces within a reactive virtual environment.\r "Eye Charts" (Shilibiao 视力表) consists of two large panels featuring optometric-style charts composed of characters using two newly-designed computer fonts, named "Feng's Bitmap" (Dianzhenfeng 点阵冯) and "Feng's Vector"(Shiliangfeng 矢量冯).\r The exhibition shows the artist's transition from new media experimentation toward a hybrid form that fuses digital interactivity, gaming engines, and traditional visual strategies, highlighting Feng’s use of game mechanics, performative interfaces (such as dance pads), and conceptual typography to explore themes of authorship, memory, and digital temporality.\r """ ; write:exhibitedArtwork , . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Art for the People (艺术为人民)"@en, "艺术为人民"@zh, "yìshù wèi rénmín"@zh-Latn ; wdt:P170 ; wdt:P180 ; wdt:P2048 "10 m" ; wdt:P2049 "2 m" ; wdt:P462 , ; wdt:P571 "1999"^^xsd:gYear ; wdt:P941 ; write:description "\"Art for the People\" is a monumental red banner. It consists of four big signs in the middle which appears as Chinese script, but on the contrary they are written with English letters. Xu Bing writes the phrase 'Art for the People' using his \"Square Word Calligraphy\", a writing system he designed to adapts the English alphabet to the stroke-based calligraphic structure forms of Chinese writing. The expression 'Art for the People' was used by Chairman Mao Zedong, while the red banner and the yellow brushstrokes reflect the visual aesthetics of mass mobilization." ; write:hasVisualArtworkType , , ; write:hasColophon true ; write:hasSeal false ; write:hasUnit ; write:vectorisedOrDigitised true . a write:DecorativeAndAppliedArt ; wdt:P1071 ; wdt:P1476 "\"Quiproquo\" Cocktail Dress (鸡尾酒裙)"@en, "鸡尾酒裙"@zh, "Jī wěi jiǔ qún"@zh-Latn ; wdt:P176 ; wdt:P180 , , , , , ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "1951"^^xsd:gYear ; wdt:P608 ; wdt:P941 ; sch:thumbnailUrl ; write:description """This dress named " 'Quiproquo' Cocktail Dress" (Ji wei jiu qun 鸡尾酒裙) was created in 1951 by Christian Dior. It follows the classic silhouette of a Dior cocktail dress, embodying the house’s refined and understated style. However, what distinguishes it is the calligraphic print featuring the text Letter about a Stomachache (Du Tong Tie 肚痛帖) by the Tang dynasty calligrapher Zhang Xu (张旭, c. 675–750 CE). Rather than appearing as a single, legible inscription, the calligraphy is multiplied across the surface of the dress, turning the script into a rhythmic decorative pattern that emphasizes visual impact over textual readability.\r The original manuscript of Zhang Xu has been lost, but a stone-carved copy from 1058 CE (Song dynasty) is now housed in the Beilin Museum in Xi’an. Although commonly referred to as a poem, "Du Tong Tie" is more accurately a brief letter written in cursive script, composed in a moment of acute physical pain. Zhang Xu was suffering from a sudden stomachache and, in just a few lines, conveys his condition, the uncertainty as to whether it was caused by heat or cold, and his decision to take a rhubarb-based medicine to relieve the pain. The cursive script is concise and expressive, made up of only six lines and around thirty characters. While the content seems simple—perhaps even banal—its power lies in the expressive mastery of the brushwork. Zhang Xu’s use of cursive script captures intense emotion and physical discomfort through the rhythm, energy, and variation of his lines. Each stroke conveys a raw, agitated state, giving visual form to suffering. Printed on white fabric, the fluid, vigorous ink strokes create a dramatic visual effect. The result is both elegant and evocative, projecting a sense of exoticism to Western eyes. The title Quiproquo aptly reflects the cultural misinterpretation embedded in the use of Chinese calligraphy on a Western fashion piece. Once transformed into a decorative motif, the original meaning of the calligraphy is partially lost, creating a visual and conceptual “misunderstanding” between East and West.\r It is clear that the designer was likely unaware of the original content and cultural background of the calligraphy by the so-called “master of cursive”. The choice seems to have been driven purely by aesthetic intuition—the expressive strokes of the calligraphy evoked abstract expressionism, aligning naturally with Dior’s visual identity and taste.\r A similar example of a dress created with calligraphic print is the one designed by Coco Chanel in 1956, titled "Ensemble". Chanel’s dress, preserved at the Metropolitan Museum of Art in New York, is made of white surah silk and decorated with black Chinese characters. In this case, the Chinese characters, rotated and deconstructed, lose their semantic readability in favor of an aesthetic function, illustrating a process of stylization that evokes cursive script (caoshu), appreciated for its fluidity and artistic value.\r Both the “Quiproquo” Cocktail Dress by Christian Dior and the “Ensemble” dress designed by Coco Chanel in 1956 were showed in the exhibition "China: Through the Looking Glass", held at the Metropolitan Museum of Art from May 7 to September 7, 2015.""" ; write:hasColophon true ; write:hasDecorativeArtworkType ; write:hasSeal false ; write:hasUnit ; sch:image . a write:CalliWritingUnit ; wdt:P180 , , , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 , ; write:attributedTitle "CWU 1/2 (心、人、佛、观...)" ; write:description """The Chinese characters on Zhang Huan's body are written by some of his friends during the performance entitled "1/2". Some of the characters are simplified characters and some orthers are traditional ones. The style of the characters recalls regular and running scripts. \r There are some characters that often recur, for example xin 心 ('heart') and ren 人 ('person'). The character xin can refer to either one's "heart" and "mind". Literally, xin (心) refers to the physical heart, though it also refers to the "mind" as the ancient Chinese believed the heart was the center of human cognition. However, emotion and reason were not considered as separate, but rather as coextensive; xin is as much cognitive as emotional, being simultaneously associated with thought and feeling. For these reasons, it is also often translated as "heart-mind". In this case, the use of the character xin 心 ('heart') is particularly significant because it represents the mind/heart unit that has been separated during the performance. The use of the character ren 人 is also significant because it remarks that the individual/person is divided between body and mind. The characters xin 心 and ren 人 seem to chase each other on the artist's body, without ever being reunited.\r Other important words visible on Zhang Huan's forehead are Fo 佛 (Buddha) and guan 覌 (sight, view, appaerance, to look at, to observe). The character Fo 佛 is transcribed in correspondence of the brain (on the arstist's head) and it recalls the importance that the mind and meditation have for Buddhism and for the Buddhist vision of life. The character guan 覌 is written between the artist's eyes because for Buddhism the real eyes are represented precisely by the mind.\r In addition to Chinese characters, there are also Latin letters ("A, B, C" on the right arm of the artist) and punctuation marks (e.g. two question marks on his breast). """@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm , ; write:hasSignificance "Meaningful writing" ; write:isUnitOf , ; write:madeUsingTool ; write:transcriptionAndTranslation "Buddha"@en, "heart"@en, "person"@en, "sight, view, appaerance, to look at, to observe"@en, "人"@zh, "心"@zh, "观"@zh, "Fú"@zh-Latn, "guān"@zh-Latn, "rén"@zh-Latn, "xīn"@zh-Latn . a wd:Q7725634 ; wdt:P1476 "Letter about a Stomachache (肚痛帖)"@en, "肚痛帖"@zh, "Dù Tòng Tiè"@zh-Latn ; wdt:P1480 ; wdt:P50 ; wdt:P571 "0700"^^xsd:gYear ; write:description """“Letter about a Stomachache” (Du Tong Tie 肚痛帖) is a short piece attributed to the renowned Chinese calligrapher Zhang Xu (ca. 700–750 CE). It is not a poem in the strict sense but rather a very brief personal note, written in cursive script during a moment of acute physical pain caused by a sudden stomachache. The text, consisting of about 30 characters in 6 lines, conveys in a concise and direct way the author's suffering, his uncertainty about the cause of the pain (whether due to cold or heat), and his decision to take a rhubarb-based decoction, known for being effective in either case.\r The original manuscript has been lost, but a stone-carved copy made in 1058 CE during the Song dynasty is preserved today at the Beilin Museum in Xi’an. Scholars believe the original composition dates back to the 8th century, during the height of Zhang Xu’s career.""" ; write:transcriptionAndTranslation """Suddenly stricken with unbearable stomach pain,\r Unsure whether it was caused by heat or cold.\r I thought of taking a decoction of rhubarb,\r Beneficial in either case—hot or cold alike.\r But what should I do?\r This isn’t a clinical setting."""@en, """忽肚痛不可堪, \r 不知是冷热所致， \r 欲服大黄汤， \r 冷热俱有益。 \r 如何为计,\r 非临床”。"""@zh, """忽肚痛不可堪，\r 不知是冷熱所致，\r 欲服大黃湯，\r 冷熱俱有益。\r 如何為計，\r 非臨床”。"""@zh, """Hū dù tòng bù kě kān,\r bù zhī shì lěng rè suǒ zhì,\r yù fú dà huáng tāng,\r lěng rè jù yǒu yì.\r Rú hé wéi jì,\r fēi lín chuáng."""@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Vivienne Tam 譚燕玉" ; wdt:P569 "1957-11-28"^^xsd:date ; wdt:P800 ; wdt:P812 ; wdt:P856 ; wdt:P937 , ; write:description "Vivienne Tam is an internationally acclaimed fashion designer celebrated for blending Eastern and Western aesthetics and for her innovative collaborations that bridge fashion and technology. Recognized by Forbes and People for her influence and beauty, Tam’s work has been featured in major museums like the MET, V&A, and the Andy Warhol Museum. She authored the award-winning book \"China Chic\", and her designs, including iconic gowns from her \"Buddha collection\", were prominently featured in the MET’s exhibition \"China: Through the Looking Glass\" and the documentary \"The First Monday in May\". Honored with the \"China Fashion Award – International Designer of the Year 2017\", she returned to China in 2018 to debut her Spring/Summer 2019 show at Beijing’s Bird’s Nest Stadium. Her evening gowns are favored by global celebrities and public figures, including Lady Gaga, Gong Li, and members of the U.S. First Family." ; write:hasCalligraphicTraining "Not present"@en ; write:hasWikidataResource ; write:isDesignerOf . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 ; wdt:P282 ; wdt:P407 ; wdt:P462 , ; wdt:P9302 ; write:attributedTitle "CWU 1 Love (愛)" ; write:description "This CWU is part of a dress designed by Vivienne Tam for her Fall-Winter 2013 \"Ready-to-Wear\" collection and presented at New York Fashion Week in 2013. It consists of the Chinese character \"ai 愛\" (love) at the heart—both literally and symbolically—of its composition. Written in non-simplified characters and positioned at chest level, the character becomes the focal point of the garment. Particularly striking is the use of red for the radical xin 心 (heart), visually isolating and elevating this element in line with traditional Chinese color symbolism, where red signifies vitality, emotion, and good fortune. The rest of the character \"ai 愛\" is rendered in white, creating a layered reading of love not just as a linguistic sign, but as a conceptual and emotional structure anchored in the body. The typical colors of calligraphy (black, white, and red) are reversed in their use: the backgroud color is black and the colors of characters is white, with the radical higlighted in red. " ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasCalligraphicLine false ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:numberOfCharacters 1 ; write:relatedUnit ; write:transcriptionAndTranslation "Love"@en, "愛"@zh, "爱"@zh, "Ài"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; write:attributedTitle "CWU 2 Love (CHANGE)" ; write:description "This CWU is part of a dress designed by Vivienne Tam for her Fall-Winter 2013 \"Ready-to-Wear\" collection and presented at New York Fashion Week in 2013. It consists of a vertical sequence of Latin letters in white colors on a red and black background that intersects the dress forming the word \"CHANGE\". These letters are realized under the Chinese character \"ai 爱\" (love), creating a dialogue between Chinese and English languages and Eastern and Western cultures." ; write:directionality "Free" ; write:hasBackgroundColour , ; write:hasCalligraphicLine false ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:relatedUnit ; write:transcriptionAndTranslation "CHANGE" . a wd:Q7725634 ; wdt:P1476 "In Ancient Days (在古代)"@en, "在古代"@zh, "Zài gǔdài"@zh-Latn ; wdt:P50 ; wdt:P571 "2004"^^xsd:gYear ; write:description "The poem \"In Ancient Days\" (Zai gudai de shiwu 在古代) was composed by the female contemporary Chinese poet Zhai Yongming 翟永明 (b.1955) in 2004. In this piece—as well as in “Thinking of Tradition in the Spring” (Zai chuntian xiangnian chuantong 在春天想念传统, 2008 — Zhai contrasts China in antiquity with life today. “In Ancient Times”, Zhai sets side by side traditional and contemporary modes of long-distance communication and travel: handwritten letters versus email, grueling overland or water journeys versus the ease of air travel."@en ; write:transcriptionAndTranslation """In ancient days, I’d only\r write letters, not knowing\r where we’d meet.\r \r Now I flood your email,\r my characters like stars\r chasing after you.\r I care little where they land.\r In ancient days, mountains were green facts.\r Blue water at our feet,\r we’d simply clasp fists, keeping faith\r we’d meet again.\r \r Now you fly this place and that,\r my small stars trailing through the sky,\r reaching out as to a sore spot,\r countless tries to patch\r the blue screen, though not hysterical.\r \r In ancient days, how many poems\r to be a Lao Shan Taoist, to slip into\r a cup of bamboo-leaf tea,\r stride on air, pass through brick walls\r and seize you. Or\r beat one’s head bloody.\r \r Now, you thumb a phone\r that wafts ten thousand scents,\r the fragrance of a distant body.\r One part trembles and a whole world shakes.\r \r Ancient days weren’t like this.\r We spurred the horses then, side by side,\r covering a few miles.\r My earrings clinked, a grin showed on your face.\r We kept ours heads down, and rode.\r \r trans. © Diana Shi & George O’Connell"""@en, """在古代，我只能这样\r 给你写信 并不知道\r 我们下一次\r 会在哪里见面\r \r 现在 我往你的邮箱\r 灌满了群星 它们都是五笔字形\r 它们站起来 为你奔跑\r 它们停泊在天上的某处\r 我并不关心\r \r 在古代 青山严格地存在\r 当绿水醉倒在他的脚下\r 我们只不过抱一抱拳 彼此\r 就知道后会有期\r \r 现在，你在天上飞来飞去\r 群星满天跑 碰到你就像碰到疼处\r 它们像无数的补丁 去堵截\r 一个蓝色屏幕 它们并不歇斯底里\r \r 在古代 人们要写多少首诗？\r 才能变成嶗山道士 穿过墙\r 穿过空气 再穿过一杯竹叶青\r 抓住你 更多的时候\r 他们头破血流 倒地不起\r \r 现在 你正拨一个手机号码\r 它发送上万种味道\r 它灌入了某个人的体香\r 当某个部位颤抖 全世界都颤抖\r \r 在古代 我们并不这样\r 我们只是并肩策马 走几十里地\r 当耳环玎璫作响 你微微一笑\r 低头间 我们又走了几十里地"""@zh, """在古代，我只能這樣\r 給你寫信 並不知道\r 我們下一次\r 會在哪裡見面\r \r 現在 我往你的郵箱\r 灌滿了群星 它們都是五筆字形\r 它們站起來 為你奔跑\r 它們停泊在天上的某處\r 我並不關心\r \r 在古代 青山嚴格地存在\r 當綠水醉倒在他的腳下\r 我們只不過抱一抱拳 彼此\r 就知道後會有期\r \r 現在，你在天上飛來飛去\r 群星滿天跑 碰到你就像碰到疼處\r 它們像無數的補丁 去堵截\r 一個藍色屏幕 它們並不歇斯底里\r \r 在古代 人們要寫多少首詩？\r 才能變成嶗山道士 穿過牆\r 穿過空氣 再穿過一杯竹葉青\r 抓住你 更多的時候\r 他們頭破血流 倒地不起\r \r 現在 你正撥一個手機號碼\r 它發送上萬種味道\r 它灌入了某個人的體香\r 當某個部位顫抖 全世界都顫抖\r \r 在古代 我們並不這樣\r 我們只是並肩策馬 走幾十里地\r 當耳環玎璫作響 你微微一笑\r 低頭間 我們又走了幾十里地\r """@zh . a write:CalliWritingUnit ; wdt:P1480 ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle " CWU 1 I am sick (我有病)" ; write:description "The \"CWU 1 I am sick (我有病)\" is composed of only three characters, wo you bing (我有病, “I am sick”), repeated some thirty-four times to cover the entire wall. This insistence on repetition seems deliberate, evoking a sense of obsession, torment, and vulnerability, emotions intimately linked with illness. The relentless pattern transforms the simple statement into a visual and psychological echo, amplifying the all-consuming nature of suffering and hinting at struggles that reach far beyond the physical body."@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 123 ; write:relatedUnit ; write:transcriptionAndTranslation "I am sick"@en, "我有病"@zh, "Wǒ yǒu bìng"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU 2 I am sick (我爱你)" ; write:description "The \"CWU 2 I am sick (我爱你)\" consists of the words \"wo ai ni (我爱你, “I love you”)\", which differ from the earlier black inscriptions. They appear in blue in the bottom right corner, written at the end of the repeated phrase \"wo you bing (我有病, “I am sick”)\", following a “wo” that would have marked the thirty-fifth repetition. This addition was likely made later by another emotional graffiti writer, perhaps as a gesture of consolation toward the original author."@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 3 ; write:relatedUnit ; write:transcriptionAndTranslation "I love you"@en, "我爱你"@zh, "Wǒ ài nǐ"@zh-Latn . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "Speechless #1-2 (无言 #1-2)"@en, "无言 #1-2"@zh, "Wú yán #1-2"@zh-Latn ; wdt:P175 ; wdt:P180 , , ; wdt:P276 ; wdt:P585 "1985"^^xsd:gYear ; write:description """Speechless #1–2 (无言 #1–2), also known as "Soundless Speech 1-2" (Wusheng yanjiang zhi yi, zhi er 无声演讲之壹、之贰), is a performance in which Gu Wenda delivered a lively yet wordless speech in front of monumental, unreadable characters painted by the artist, which served as the backdrop for the performance. The characters are part of the series "Pseudo-Character Series" (Xugou wenzi xilie 虚构文字系列, 1984-1986) . One of the artworks in front of the artist is "Synthesized Words" (Chang shen 畅神, 1985). \r The performance is repeated in 1986 at the Xi'an Artists' Gallery (Speechless #4). \r """@en ; write:hasPerformingArtworkType ; write:hasUnit ; write:madeUsingTool wd:Q23852, wd:Q7390 ; write:usesArtwork . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 Ode of Eight Thousand Verses: Fortune n. 1 (signs)" ; write:description """This CWU consists of the Sanskrit parts in black. The Sanskrit parts are extracts from the Sutra of the Perfection of Wisdom (Prajñāpāramitā Sutra) in 8,000 Lines, also called Transcendental Knowledge Sutra, which is a collection of Buddhist texts fundamental for the creation of Mahāyāna Buddhism. The main theme of Prajñāpāramitā Sutra literature is the achievement of the ‘perfection of wisdom’, which corresponds to ‘emptiness’ (Śūnyatā), that is the state of consciousness which understands the real nature of things, that is, the insubstantiality of phenomena as impermanent and interdependent, and which is capable of realizing Buddhahood and enlightenment. The graphs inspired to this text are no longer understandable due to the artistic rielaboration.\r """ ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon true ; write:hasSignificance "Set of signs (illegible)" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:relatedUnit . a wd:Q43229 ; wdt:P2561 "Minaxdo 米丈堂木作" ; wdt:P276 ; wdt:P800 ; wdt:P856 ; write:description """Minaxdo is a distinguished participant in China’s refined material culture, dedicated to evolving into a leading brand that embodies a sophisticated and tasteful lifestyle. Rooted in the cultural heritage of the Southern Yangtze region, the brand draws inspiration from traditional Chinese architecture and furniture, imbuing each wooden artwork with rich cultural significance and enduring beauty. Through the seamless integration of elegant forms, meticulous craftsmanship, and contemporary design elements, Minaxdo’s creations exemplify both aesthetic refinement and modern sensibilities.\r \r Each piece is thoughtfully conceptualized and handcrafted from premium timber, reflecting a commitment to artistry and authenticity. Guided by a sincere, simple, and pure ethos, Minaxdo is devoted to offering culturally discerning and aesthetically sophisticated clientele bespoke artworks and personalized services of the highest excellence.""" ; write:hasOrganisationType ; write:isDesignerOf . a wd:Q215627 ; wdt:P103 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Song Chen 宋陈" ; wdt:P27 ; wdt:P569 "1997"^^xsd:gYear ; wdt:P800 , ; wdt:P937 ; sch:thumbnailUrl ; write:description """Song Chen was born in Luoyang. She is a contemporary eco-artist who uses earth and soil as both material and metaphor for her art. \r She is the founder of several projects, exhibitions, and festivals dedicated to ecological practices and soil healing, such as the "Soil Ecological Art Program" Art Public Education Project and the "World Soil Day Series Art Public Education Project". \r Song Chen's practice reflects a deep attachment to her native land and a persistent inquiry into the ultimate destiny of humankind. In her hands, earth becomes more than material; it turns into a vessel of memory and vitality, bridging spiritual and physical realms, ancient and contemporary times.\r Through a quiet, meditative process, Song Chen cultivates an artistic world rooted in ritual, emotion, and endurance. \r Her works have been exhibited at major international art fairs, including Art Basel Hong Kong, the Hong Kong Art Fair, the Shanghai Art Fair, ART021 Shanghai Contemporary Art Fair, and the West Bund Art & Design.""" ; sch:image . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU 2 The Genetics of Reading Image (《兰亭序》)" ; write:description "This CWU consists the transcription of \"Orchid Pavilion Preface\" (Lanting ji xu 兰亭集序) written by Wang Xizhi in non-simplified characters. The text is interactive and it appears sentence by sentence under the set of signs \"translating\" the text into images (see CWU 1)." ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:numberOfCharacters 65 ; write:relatedUnit ; write:transcriptionAndTranslation """It is the ninth year of Emperor Mu of Jin's Yonghe era\r The year of the Yin Water Ox,\r At the beginning of the third lunar month,\r We are all gathered at the orchid pavilion in Shanyin County, Guiji Commandery,\r For the Spring Purification Festival.\r All of the prominent people have arrived,\r From old to young.\r This is an area of high mountains and lofty peaks,\r With an exuberant growth of trees and bamboos,\r It also has clear rushing water,\r Reflecting the sunlight as it flows past either side of the pavilion.\r The guests are seated side by side to play the drinking game where a wine cup is floated down the stream and the first person sitting in front of the cup when it stops must drink."""@en, """永和九年,岁在癸丑,\r 暮春之初,\r 会于会稽山阴之兰亭,\r 修禊事也。\r 群贤毕至,\r 少长咸集。\r 此地有崇山峻岭,\r 茂林修竹,\r 又有清流激湍,\r 映带左右。\r 引以为流觞曲水,\r 列坐其次。\r """@zh, """永和九年，歲在癸丑，\r 暮春之初，\r 會於會稽山陰之蘭亭，\r 修禊事也。\r 群賢畢至，\r 少長咸集。\r 此地有崇山峻嶺，\r 茂林修竹，\r 又有清流激湍，\r 映帶左右。\r 引以為流觴曲水，\r 列坐其次。"""@zh, """Yǒnghé jiǔ nián, suì zài guǐchǒu,\r mù chūn zhī chū,\r huì yú Kuàijī shān yīn zhī Lán Tíng,\r xiū xì shì yě.\r Qún xián bì zhì,\r shào zhǎng xián jí.\r Cǐ dì yǒu chóng shān jùn lǐng,\r mào lín xiū zhú,\r yòu yǒu qīng liú jī tuān,\r yìng dài zuǒ yòu.\r yǐn yǐ wéi liú shāng qū shuǐ,\r liè zuò qí cì."""@zh-Latn ; write:vectorisedOrDigitised true . a wd:Q17514 ; wdt:P1476 "Reality is meant to be escaped (现实就是用来逃避的)"@en, "现实就是用来逃避的"@zh, "現實就是用來逃避的"@zh, "Xiànshí jiù shì yòng lái táobì de"@zh-Latn ; wdt:P179 ; wdt:P180 ; wdt:P186 , ; wdt:P276 ; wdt:P462 ; wdt:P571 "2023"^^xsd:gYear ; wdt:P6375 "Dajia Riverside Park, Taipei"@en ; write:description """This graffiti piece, executed in black spray paint on a repainted wall that had been used to cover a previous work (likely a puppet or cartoon-style figure common in graffiti culture) presents a stark textual statement: Xianshi jiushi yonglai taobi de 現實就是用來逃避的 (“Reality is meant to be escaped”).\r The writer intentionally used traditional Chinese characters, reflecting the linguistic and cultural environment of Taipei. This choice situates the work firmly within its local context while simultaneously engaging in a broader dialogue with Chinese-language graffiti practices across different regions.\r The act of writing directly over a freshly buffed surface transforms the gesture into both a defiance and a reflection. The faint traces of the earlier graffiti beneath the new layer of paint remain visible, creating a visual and conceptual dialogue between erasure and re-inscription. Through this interplay, the work questions the cyclical nature of visibility and disappearance in public art.\r The phrase itself functions as an existential commentary on contemporary urban life. Within this context, “reality” becomes a metaphor for systems of control, regulation, or monotony, while the graffiti act embodies a form of temporary liberation. The tension between erasure and expression situates the piece within a discourse of resistance—where the buffed wall, rather than silencing expression, becomes a renewed surface for reflection, irony, and persistence."""@en ; write:hasChengyu false ; write:hasColophon false ; write:hasGraffitiGenre , ; write:hasGraffitiStyle ; write:hasGraffitiType ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a wd:Q17514 ; wdt:P1476 "Freedom (自由)"@en, "自由 "@zh, "Zìyóu"@zh-Latn ; wdt:P179 ; wdt:P180 ; wdt:P186 , ; wdt:P462 ; wdt:P571 "2022"^^xsd:gYear ; write:description """A representative example of the series "Chinese Emotional Graffiti - (Aspiration for) Freedom," is the graffito "Freedom (自由)" published online in April 2022, maybe created the same year.\r This piece conveys significant meaning through its interaction with the surrounding environment. The two characters "ziyou 自由 (freedom)" are spray-painted in red on a weathered gray surface and appear visually enclosed within a metal cage. \r The composition intensifies the socio-political resonance of the work: the act of inscribing “freedom” directly onto an urban infrastructure, only to have it visually confined by fencing, may be read as an implicit commentary on the restrictions placed upon individual liberties in the public sphere. \r Interesting is the fact that the inscription is vertically arranged, written from top to bottom, recalling the traditional orientation of Chinese calligraphy while asserting its presence within a contemporary graffiti context."""@en ; write:hasChengyu false ; write:hasChineseConcept ; write:hasColophon false ; write:hasGraffitiGenre , ; write:hasGraffitiStyle ; write:hasGraffitiType ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a wd:Q17514 ; wdt:P1476 "I feel lonely (我感到孤单)"@en, "我感到孤单"@zh, "wǒ gǎndào gūdān"@zh-Latn ; wdt:P179 ; wdt:P180 , ; wdt:P186 , ; wdt:P276 ; wdt:P462 ; wdt:P571 "2024"^^xsd:gYear ; write:description """This graffiti work presents a striking repetition of the pronoun "wo 我 (I)" sixteen times, followed by the phrase "wo gan dao gu dan 感到孤单 (I feel lonely)." The visual and linguistic accumulation of wo 我 intensifies the self-referential tone, evoking a sense of obsessive introspection and emotional isolation. The piece exemplifies how written language, particularly Chinese characters, can function as a direct medium of affect in contemporary urban expression.\r Created outside of China, this work carries additional cultural resonance. Beyond its immediate reflection on solitude, likely amplified by the psychological aftermath of the COVID-19 lockdowns, it can be interpreted as a manifestation of the alienation experienced by Chinese individuals living abroad. The repetition of the pronoun "wo 我" may signify both an assertion of identity and an expression of displacement, as the artist’s voice echoes through an unfamiliar linguistic and cultural environment.\r Through its minimalist structure and emotionally charged text, this graffito exemplifies the intersection of language, identity, and emotion within the framework of Chinese Emotional Graffiti, translating private sentiment into a universal visual statement on loneliness and belonging."""@en ; write:hasChengyu false ; write:hasColophon false ; write:hasGraffitiGenre , ; write:hasGraffitiStyle ; write:hasGraffitiType ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a wd:Q17514 ; wdt:P1476 "I am very sad today (今天很伤心)"@en, "今天很伤心"@zh, "Jīntiān hěn shāngxīn"@zh-Latn ; wdt:P179 ; wdt:P180 ; wdt:P186 , ; wdt:P276 ; wdt:P462 ; wdt:P571 "2024"^^xsd:gYear ; write:description """A representative example from the series “Chinese Emotional Graffiti – Sadness” is the work titled “I am very sad today (今天很伤心)”. The piece was documented in London and published online in 2024, suggesting that it was likely created in the same year. The graffito consists of the phrase "Jintian hen shangxin 今天很伤心 (I am very sad today)," rendered in white characters against a deep burgundy-red background, accompanied by the image of a crying face.\r The visual contrast between the stark white script and the saturated red surface intensifies the emotional tension of the message, transforming a simple declarative sentence into an affective statement that resonates with viewers on an immediate, human level. The inclusion of the crying face reinforces this direct emotional communication, bridging textual and visual expression in a way characteristic of Chinese Emotional Graffiti.\r It is particularly noteworthy that this work appeared in London rather than in China. Its geographical displacement raises questions about emotional universality and cultural translation: sadness here functions as a global affect, transcending linguistic boundaries while still retaining a distinctly Chinese graphic identity. The presence of Chinese characters in a Western urban environment also invites reflection on the diasporic condition and the ways in which emotions—especially those of melancholy or alienation—can be inscribed into public space as quiet gestures of vulnerability and connection."""@en ; write:hasChengyu false ; write:hasColophon false ; write:hasGraffitiGenre , ; write:hasGraffitiStyle ; write:hasGraffitiType ; write:hasOtherVisualElement ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a wd:Q17514 ; wdt:P1476 "Where Is Youth Going? (青年去往何处? )"@en, "青年去往何处?"@zh, "Qīngnián qù wǎng hé chù?"@zh-Latn ; wdt:P179 ; wdt:P180 , ; wdt:P186 , ; wdt:P462 ; wdt:P571 "2022"^^xsd:gYear ; wdt:P941 ; write:description """“Where Is Youth Going? (青年去往何处?)” stands as a central work within the series "Chinese Emotional Graffiti – Discomfort of Youth". Painted in red spray paint on the crumbling wall of a ruined house at a street corner, the piece divides its inscription across two sections: "Qingnian 青年 (youth)" appears on the left wall, while "qu wang he chu去往何处 (where is it going?)" occupies the right, visually emphasizing a sense of rupture and disjunction.\r Across the wall, the question unfolds as both a personal outcry and a collective lament. It encapsulates the pervasive disorientation of a generation whose transition into adulthood was fractured by the COVID-19 pandemic. Visually, the characters convey a dynamic instability: their strokes alternate between assertive, calligraphic precision and erratic, dissolving forms, embodying the inner turbulence of contemporary youth. The surface bears visible layers of paint and traces of erasure, evoking the passage of time and the emotional residue left by isolation and uncertainty. Dripping marks and uneven textures suggest a gradual loss of solidity, as though the very notion of “youth” were disintegrating before the viewer’s eyes.\r Conceptually, the work transforms a question of existential gravity into a public act of vulnerability. It gives form to the shared confusion and introspection of those who came of age during a global crisis, caught between nostalgia for an irretrievable past and anxiety toward an undefined future. More than a mere record of the pandemic’s emotional aftermath, the piece becomes an act of reclamation: a conversion of despair into dialogue.\r By inscribing this question within public space, the graffiti refuses concealment and instead demands confrontation. It compels passersby to reflect on their own trajectories, revealing that the discomfort of youth is not a private affliction but a shared condition. In this way, "Where Is Youth Going?" exemplifies the ethos of Chinese Emotional Graffiti: merging linguistic expressiveness with urban immediacy to articulate the unspoken emotional currents of a generation in search of meaning."""@en ; write:hasChengyu false ; write:hasChineseConcept ; write:hasColophon false ; write:hasGraffitiGenre , ; write:hasGraffitiStyle ; write:hasGraffitiType ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a wd:Q17514 ; wdt:P1476 "Covid lasts longer than any of your love (肺炎在的时间比你任何一场爱还久)"@en, "肺炎在的时间比你任何一场爱还久"@zh, "肺炎在的時間比你任何一場愛還久"@zh, "Fèiyán zài de shíjiān bǐ nǐ rènhé yī chǎng ài hái jiǔ"@zh-Latn ; wdt:P179 ; wdt:P180 , , ; wdt:P186 , ; wdt:P276 ; wdt:P462 ; wdt:P571 "2023"^^xsd:gYear ; wdt:P6375 "MRT Houyi station, Kaohsiung (Taiwan)."@en ; wdt:P941 ; write:description """The graffiti “Covid lasts longer than any of your love (肺炎在的時間比你任何一場愛還久)" was published online in 2023 and executed at MRT Houyi Station in Kaohsiung, Taiwan. The inscription, rendered in traditional Chinese characters, is painted in black on a corrugated galvanized steel panel.\r The phrase encapsulates the prolonged sense of loneliness and emotional disconnection that marked those difficult pandemic years.\r The work exemplifies the emotionally charged irony characteristic of Chinese Emotional Graffiti, where the language of affection and illness intertwines to expose the fragility of human connection in times of crisis. It engages deeply with themes of unspoken emotion, communicative breakdown, and the inner tension between expression and restraint. Through its abstract wordplay, the statement of despair transforms into a poetic meditation on endurance and loss. By merging traditional Chinese script with contemporary urban aesthetics, the graffiti bridges cultural symbolism and shared human experience, inviting reflection on the complexities of love, isolation, and the modern condition."""@en ; write:hasChengyu false ; write:hasColophon false ; write:hasGraffitiGenre , ; write:hasGraffitiStyle ; write:hasGraffitiType ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a wd:Q17514 ; wdt:P1476 "What is love? (爱是什么?)"@en, "爱是什么?"@zh, "Ài shì shénme?"@zh-Latn ; wdt:P179 ; wdt:P180 ; wdt:P186 , ; wdt:P276 ; wdt:P462 ; wdt:P571 "2024"^^xsd:gYear ; wdt:P6375 "Florence station"@en ; write:description """The piece "What is love? (爱是什么?)" appeared on a train near Florence, sprayed in vivid orange on the gray metal of the carriage. The choice of orange may have been deliberate, echoing the train’s lower stripe while ensuring the message stood out sharply against the silver background. The writing is executed in a simple, angular style, typical of Chinese Emotional Graffiti, where clarity of message takes precedence over aesthetic flourish.\r This question touches a timeless concern of humanity. In contemporary society, where relationships can feel fleeting or fragile, it resonates anew. The phrase invites viewers to consider love in a broader sense, extending beyond romantic attachment to include friendship, compassion, and self-care. It encourages reflection on the many forms love can take, challenging idealized or conventional narratives.\r Although the original post documenting this graffiti is no longer accessible, it reportedly attracted significant engagement. Like other examples of Chinese Emotional Graffiti, it served as a catalyst for public dialogue, with viewers responding to the question and sharing their own reflections. This interaction underscores a key feature of the movement: the ability to turn a single, universally relatable doubt or reflection into a shared, communal experience."""@en ; write:hasChengyu false ; write:hasColophon false ; write:hasGraffitiGenre , ; write:hasGraffitiStyle ; write:hasGraffitiType ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Synthesized Words (易、 申、示、畅神)" ; write:description "This CWU is part of the artwork entitled \"Synthesized Words\" (Chang shen 畅 神). The unit is composed by three cursive-script components (yi 易, shen 申, shi 示 ) which may be interpreted as the character for “unobstructed” (chang 畅 ) and that for “spirit” (shen 神). The characters seem to be suspended over a landscape. Gu Wenda uses this artwork as a backdrop during the performance \"Speechless #1-2\" (Wu yan #1-2 无言 #1-2). "@en ; write:hasBackgroundColour , , ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 5 ; write:transcriptionAndTranslation "Free Expression/Unobstructed Spirit "@en, "change, exchange"@en, "express, explain, iterate "@en, "show "@en, " 示"@zh, "易"@zh, "申"@zh, "畅神"@zh, "chàng shén"@zh-Latn, "shì"@zh-Latn, "shēn"@zh-Latn, "yì"@zh-Latn . a wd:Q17514 ; wdt:P1476 "I can’t take it anymore (受的好累)"@en, "受的好累"@zh, "Shòu de hǎo lèi"@zh-Latn ; wdt:P179 ; wdt:P180 ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2021"^^xsd:gYear ; wdt:P941 ; write:description """The graffiti I Can’t Take It Anymore (受的好累) was published online in 2021, suggesting that it was created in the same year. The composition consists of four Chinese characters: "shou de hao 受的好", rendered in red spray paint, followed by "lei 累 (fatigue)", executed in black. The chromatic contrast between red and black is visually and symbolically significant: the red conveys intensity, emotional agitation, and perhaps internalized pain, while the black character "lei 累 (fatigue)" isolates and emphasizes the core sentiment of exhaustion.\r This work encapsulates a profound sense of moral and psychological depletion. It reflects a state of emotional fatigue deeply connected to the sociocultural context of the Covid-19 pandemic, a period marked by confinement, the deprivation of individual freedoms, and collective trauma. In this context, the graffiti becomes more than a personal confession, it is a universal outcry, a silent plea for relief from unbearable psychological strain.\r By inscribing this short yet emotionally charged phrase in public space, the writer transforms a private sentiment into a shared social message. The minimal composition, dominated by textual expression rather than imagery, aligns with the principles of Chinese Emotional Graffiti, in which language itself becomes the primary vehicle of affect. The act of writing thus functions simultaneously as catharsis and resistance, an effort to reclaim emotional agency amid the paralysis of global crisis.\r Ultimately, "I Can’t Take It Anymore (受的好累)" stands as a poignant visual testament to the collective fatigue of a generation confronting uncertainty, isolation, and loss. Its simplicity belies a deep existential resonance, articulating the exhaustion of enduring a world in which suffering has become both normalized and inescapable."""@en ; write:hasChengyu false ; write:hasChineseConcept ; write:hasColophon false ; write:hasGraffitiGenre , ; write:hasGraffitiStyle ; write:hasGraffitiType ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Les Poèmes du Mandarin for Hermès"@en ; wdt:P170 ; wdt:P580 "2009"^^xsd:gYear ; sch:thumbnailUrl ; write:description """The “Les Poèmes du Mandarin” tableware by Hermès is a limited-edition collection created for and inspired by the Krug Room at the Mandarin Oriental Hong Kong, representing a unique collaboration between the hotel, Krug champagne, and Hermès. The project originated in 2006, when the design studio Marc & Chantal, while finalizing the Krug Room, approached Hermès to create a bespoke tableware design rather than using existing stock.\r The collection links Chinese calligraphy to the enjoyment of champagne and conviviality. The calligraphy is by artist Fung Ming Chip. He first executed the calligraphy freehand on traditional rice paper, later digitally adapted by Fu Qiumeng Fine Art to fit the tableware design. Among the various styles, Fung even invented scripts resembling rising bubbles in a glass of Krug. The inscriptions feature full poems, extracts, or individual characters from classical Tang and Song Dynasty poets—including Li Bai 李白 (701–762), Du Fu 杜甫 (712–770), and Cheng Hao 程颢 (1032–1085)—with themes of friendship, happiness, and the sharing of food and drink. The calligraphy is rendered in subtle shades of grey with delicate platinum accents to evoke the effect of freshly applied, wet ink, and punctuated with small red seals carved by the artist. The resulting collection comprises 18 pieces blending Chinese and Western tableware styles, each reflecting varying scales, compositions, and content.\r Hermès’ ateliers, or Compagnie des Arts de la Table, ensured the meticulous execution of the calligraphy on ceramic, harmonizing traditional artistic techniques with contemporary functional design. \r The collection was first installed in the Krug Room on 20 October 2008 and subsequently launched for public sale in Hermès stores worldwide in 2009, cementing Fung Ming Chip’s reputation as an artist bridging classical Chinese art and modern design.""" ; sch:image ; write:includesArtwork . a wd:Q17514 ; wdt:P1476 "In Hong Kong, if you are sick, you don't see a doctor; you look at your wallet (在香港地,有病不是看醫生,是看看自己個銀包)"@en, "係香港地, 有病唔系睇医生, 系睇吓自己个銀包"@zh, "在香港地,有病不是看醫生,是看看自己個銀包"@zh, "Zài xiānggǎng de, yǒu bìng bùshì kàn yīshēng, shì kàn kàn zìjǐ gè yín bāo"@zh-Latn ; wdt:P179 ; wdt:P180 , ; wdt:P186 , ; wdt:P276 ; wdt:P462 ; wdt:P571 "2024"^^xsd:gYear ; write:description """The graffito “In Hong Kong, if you are sick, you do not see a doctor; you look at your wallet” (在香港地，有病唔係睇醫生，係睇吓自己個銀包) was executed in Hong Kong and circulated online in 2024. The inscription is written in traditional Chinese characters and employs Cantonese vernacular syntax, reinforcing its local specificity and immediacy.\r Formally, the text is rendered in black, likely applied with a marker, on a tiled wall, with each character carefully positioned within the boundaries of a single tile. This strict alignment produces a grid-like visual order that contrasts with the critical and emotionally charged content of the message, a strategy frequently observed in text-based urban interventions.\r The graffito constitutes a form of social protest addressing the high cost of healthcare in Hong Kong. Rather than advocating against specific political institutions, the work articulates an everyday economic anxiety, emphasizing how access to medical care is mediated by financial capacity. In doing so, it exemplifies how Chinese Emotional Graffiti operates not only as a vehicle for political dissent but also as an expressive register of social and economic grievance.\r The phrase underscores a bitter irony: illness does not prompt a medical consultation but instead forces an assessment of one’s financial means. This succinct and colloquial formulation transforms a private concern into a public statement, using urban space as a site for collective recognition of precarity. Through its direct language and accessible placement, the graffito foregrounds the emotional dimension of economic pressure, situating personal vulnerability within broader structural conditions."""@en ; write:hasChengyu false ; write:hasColophon false ; write:hasGraffitiGenre , ; write:hasGraffitiStyle , ; write:hasGraffitiType ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Ready-to-Wear 2013 Collection"@en ; wdt:P170 ; wdt:P580 "2013-02-10"^^xsd:date ; write:description """The Vivienne Tam Ready-to-Wear 2013 collection was presented at New York Fashion Week on February 10th, coinciding with the Chinese New Year, which added symbolic resonance to the show. The collection is notable for its fusion of Eastern and Western influences, combining contemporary fashion aesthetics with cultural and political references.\r Tam incorporated Western pop culture elements, such as a pop-art print of Barack Obama wearing sunglasses alongside QR codes, and traditional Chinese motifs, including stylized Chinese characters and Maoist slogans like “long live” (wan sui 万岁). The color palette was dominated by bold red, black, and white, with touches of blue, while the silhouettes ranged from 1960s-inspired sheath dresses to modern reinterpretations of military jackets. Luxurious fabrics such as silk and leather were enriched with details like accordion pleats, leather appliqués, and intricate textures, giving the garments depth and visual interest.\r The beauty and styling reinforced the edgy, contemporary feel of the collection, with bold dark eyeliner, deep burgundy lipstick, and sleek high ponytails creating a punk-inspired aesthetic. Beyond fashion, Tam used the collection as a platform for social engagement, collaborating with an organization that converts electronic waste into microloans for women in need.""" ; write:includesArtwork . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Yuanyuan Armchair Series (缘圆椅系列)"@en, "缘圆椅系列"@zh, "Yuányuán yǐ xìliè"@zh-Latn ; wdt:P170 ; sch:thumbnailUrl ; write:description """The Yuanyuan Armchair series by Minaxdo is a sophisticated exploration of the intersection between traditional Chinese calligraphy and contemporary furniture design. The collection is directly inspired by the techniques and gestural qualities of calligraphy: the movements, turns, hooks, inclinations, and directions of brushstrokes are reflected in the modeling of each piece. Rooted in the essence of classical script, the armchairs feature smooth and elegant lines that evoke the fluid rhythm of running and cursive script, translating ephemeral ink gestures into enduring material form.\r In ancient China, scholars placed great importance on fenggu 风骨—the spiritual strength and integrity of artistic expression. Traditional calligraphy, while appearing graceful and flowing, contains an inner vigor, soft in appearance yet firm in spirit. The Yuanyuan Chair captures this duality: its form resembles a spontaneous cursive composition, while its design and craftsmanship rigorously adhere to structural and mechanical principles. Each handcrafted joint, executed through mortise-and-tenon construction, corresponds metaphorically to a momentary “pause” in the brush movement, imparting both solidity and dynamism to the piece.\r The name Yuanyuan 缘圆, meaning “round-perfect edge” or “harmonious connection,” alludes to the continuity and fluidity of calligraphic motion, embodied in the ergonomically designed teak and rosewood armrests. Through this synthesis of traditional artistic philosophy, calligraphic movement, and contemporary design practice, the series exemplifies the translation of gestural energy into functional, elegant, and conceptually rich furniture.""" ; sch:image ; write:includesArtwork . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P282 ; wdt:P407 ; wdt:P462 , ; wdt:P9302 ; write:attributedTitle "CWU 1 Shanghai 2010 Expo Logo (世)" ; write:description "This CWU is part of the logo of the Shanghai 2010 Expo. It consists of the Chinese character \"shi 世\", meaning “world” or “generation,” which has been stylized as three figures holding hands to symbolize human unity and cooperation. The design of the character is calligraphic, with flowing and sinuous lines inspired by running script, allowing the emblem to merge semantic meaning with visual form in a single, coherent image. According to the \"Shuowen jiezi 说文解字\", the earliest surviving Chinese dictionary completed by Xu Shen 许慎 in 100 CE, the original form of the character (㔺) is a modification of the character sa 卅 (thirty), initially composed of the character shi 十 repeated three times, with the lower ends of the two outer vertical strokes converging to form a tree-like branching structure. The character shi 世 also signifies “generation”, reflecting the idea that every thirty years one generation produces the next, just as each branch of the character seems to emanate a successive one. The green S-shaped stroke that terminates the image, replicating the final part of the character in its pictographic form, is transformed into the number “2” in “2010” within the logo. These strokes are executed in a brush-like style, highly evocative of calligraphy, further emphasizing the integration of traditional Chinese writing with modern graphic design." ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:numberOfCharacters 1 ; write:relatedUnit ; write:transcriptionAndTranslation "World"@en, "世"@zh, "Shì"@zh-Latn ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P282 ; wdt:P407 ; wdt:P462 ; write:attributedTitle "CWU 2 Shanghai 2010 Expo Logo (Expo Shanghai China)" ; write:description "This CWU is part of the logo of the Shanghai 2010 Expo. It consists of the inscription “Expo Shanghai China” rendered in latin letters and in modern sans-serif typeface, visually separated from the main graphic component of the logo. Its primary function is to identify the name and location of the event for an international audience, thereby complementing the overall global communication of the emblem. The use of a clean, contemporary typeface emphasizes clarity and legibility, contrasting with the fluid, calligraphic style of the central character shi 世 and the brush-like numerals, and creating a harmonious balance between traditional Chinese elements and modern typographic conventions. " ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:relatedUnit ; write:transcriptionAndTranslation "Expo Shanghai China" ; write:vectorisedOrDigitised true . a wd:Q17514 ; wdt:P1476 "There is Hope (有希望 )"@en, "有希望 "@zh, "Yǒu xīwàng"@zh-Latn ; wdt:P179 ; wdt:P180 ; wdt:P186 , ; wdt:P462 ; wdt:P571 "2022"^^xsd:gYear ; write:description """This graffiti reading “You xiwang 有希望” (“There is hope”) employs large-scale red Chinese characters painted directly onto an urban wall using a paint roller rather than spray paint. This technical and visual choice explicitly recalls the aesthetic and ideological legacy of dazibao (big-character calligraphy). Historically associated with Mao-era political slogans and practices of mass mobilization, dazibao was designed to be immediately legible, confrontational, and accessible to the public, transforming written language into a powerful instrument of collective persuasion.\r The use of red, deeply embedded in the visual grammar of revolutionary China, further reinforces this historical resonance. Red functions not only as a chromatic reference to socialism, revolution, and state authority, but also as an affective device that intensifies the emotional charge of the message, demanding attention within the everyday urban environment.\r The graffiti is additionally framed by a blue outline, a detail that invites multiple interpretations. On a symbolic level, blue may connote trust, calm, stability, or endurance, contrasting with the urgency and intensity of red. Within Chinese visual culture, blue can also evoke notions of continuity, protection, or transcendence, subtly tempering the confrontational force of the red characters. Alternatively, the blue frame may function as a visual boundary, separating the message from the surrounding urban decay and granting it a sense of enclosure, preservation, or intentionality, almost as if isolating hope itself within a fragile perimeter.\r The chromatic pairing of red and blue is unlikely to be arbitrary. Red traditionally signifies fortune, vitality, and happiness, while blue may suggest rationality, distance, or emotional restraint. Together, they produce a visual tension that mirrors the broader sociopolitical climate: a moment marked by uncertainty, exhaustion, and suspended futures. In such a context, the declaration that “there is hope” reads less as naïve optimism than as an urgent, almost defiant emotional assertion.\r Recontextualized within contemporary Chinese Emotional Graffiti, the large-character inscription undergoes a significant semantic shift. Detached from its original propagandistic framework, the phrase no longer operates as a directive imposed from above, but as an open-ended emotional statement addressed horizontally to the public. The monumental scale and stark simplicity of the characters echo Mao-era visual strategies, yet their contemporary placement transforms them into a site of reflection, memory, and emotional negotiation.\r By appropriating the formal language of Maoist slogans while fundamentally altering their communicative intent, the work collapses the boundary between political history and personal affect. In doing so, it reclaims dazibao as an expressive medium capable of articulating hope, endurance, and psychological affirmation, demonstrating how historical visual codes continue to be reactivated and re-signified within present-day urban writing practices."""@en ; write:hasChengyu false ; write:hasChineseConcept ; write:hasColophon false ; write:hasGraffitiGenre , ; write:hasGraffitiStyle , , ; write:hasGraffitiType , , ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool , . a write:CalliWritingUnit ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 WRITE Logo (写)" ; write:description "This CWU is part of the WRITE logo. It consists of the red character realized by the Chinese calligraphy master Luo Qi and representing the character 写, which translates as “write.” Luo Qi reinterpreted an archaic form of 写, blending his distinctive style with elements of running script. Notably, the upper portion of the character resembles the Latin letter “W”, which inspired the integration of the letters R‑I‑T‑E to complete the word WRITE, creating a seamless visual synthesis of Chinese calligraphy and Latin script." ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:numberOfCharacters 1 ; write:relatedUnit ; write:transcriptionAndTranslation "Write"@en, "写"@zh, "Xiě"@zh-Latn ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P282 ; wdt:P407 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 WRITE Logo (R-I-T-E)" ; write:description "This CWU is part of the WRITE Logo. It consists of the combination of the Latin letters \"R-I-T-E\". These letters are not merely typographic symbols but are conceptually and visually integrated with the upper part of the Chinese character xie 写. The initial “W” is derived from the brushstrokes of the calligraphic character, while the remaining letters “R‑I‑T‑E” are rendered in a digital font. Notably, the final “E” is stylized as a rotated “3”, referencing a non‑linguistic communicative system and emphasizing the logo’s experimental and multimodal nature. This fusion creates a hybrid linguistic sign in which traditional calligraphic gestures and modern Latin script coexist, allowing the word to function both as a readable English text and as a visual extension of the calligraphic form." ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:relatedUnit ; write:transcriptionAndTranslation "R-I-T-E" ; write:vectorisedOrDigitised true . a write:DecorativeAndAppliedArt ; wdt:P1476 "Gu Gan for Château Mouton Rothschild - 'Heart to Heart' label for the 1996 Château Mouton Rothschild"@en, "Coeur à Coeur"@fr, "心连心"@zh, "Xīn lián xīn"@zh-Latn ; wdt:P180 , , , , , , ; wdt:P186 ; wdt:P2048 "24 cm" ; wdt:P2049 "18 cm" ; wdt:P462 , , , , , ; wdt:P571 "1996"^^xsd:gYear ; wdt:P88 ; sch:thumbnailUrl ; write:calligrapher ; write:description """In 1996, the renowned French estate Château Mouton Rothschild invited Chinese calligrapher and contemporary artist Gu Gan to design the label for its vintage —a historic first for a Chinese artist. Since 1945, this famous French winery (after an initial experiment in 1924) has had its labels designed by famous artists, including Miró, Chagall, Braque, Picasso, Warhol, Kandinsky, etc. These artistic labels became the visual hallmark of the winery. \r Gu Gan's work - the first one by a Chinese artist, titled “Coeur à Coeur” (Heart to Heart), features five ideograms of the character xin 心 (heart), each rendered with subtle variations in stroke and color. For Gu Gan this work conveys the notion that "even if one's body is locked in a particular room, city or country, one's heart and mind can never be so contained" (Barrass 2002, 190). This powerful yet subtle composition is intended as an act of faith in universal harmony. Through the repetition of the character xin 心 (heart), the composition transforms the fluidity and rhythm of calligraphy into a visual meditation on harmony, emotion, and universality. The label exemplifies Gu Gan’s signature style: delicate yet dynamic, spontaneous yet structured, capturing both the energy and serenity of the written form. The work also includes a colophon in which the artist’s name appears in archaic characters (古干), preceded by the characters “Zhongguo 中国" (China) and followed by the title of the work (心), likewise rendered in the same archaic form. The original artwork made in Chinese ink on paper is then reproduced in high-quality techniques, in particular lithography for special prints, while the bottle labels themselves are printed. \r Gu Gan's work represents the upper part of the label. Immediately below is the wording ‘Encre de Chine par Gu Gan’ (Chinese ink by Gu Gan - on the left) and ‘Coeur à Coeur’ (Heart to Heart - on the right), and further below is the rest of the standard wine label with the coat of arms, the vintage and the name of the wine and the winery in classical serif typeface. The interplay of flowing, expressive brushwork with precise printed typography creates a subtle tension between spontaneity and formality, reflecting the dialogue between Eastern calligraphy and Western writing tradition. \r This collaboration marked a significant cultural milestone, highlighting the dialogue between contemporary Chinese art and Western wine tradition, and showcasing Gu Gan’s ability to convey poetic meaning through the elegance of the brush.""" ; write:hasColophon true ; write:hasDecorativeArtworkType , ; write:hasSeal true ; write:hasUnit ; sch:image . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 , ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1988-2025 - Hair Painting" ; write:description "This CWU is part of the performance \"1988-2025 - Hair Painting\"" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; sch:image ; write:isUnitOf , ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Writing the 'Orchid Pavilion Preface' One Thousand Times (《兰亭序》)" ; write:description "The poem written by Qiu Zhijie is the \"Orchid Pavilion Preface\" (Lanting Xu 兰亭序) composed by Wang Xizhi in 353 AD. Qiu Zhijie repeatedly copies the work a thousand times on the same piece of rice papersheet."@en ; write:hasBackgroundColour , ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 324 ; write:transcriptionAndTranslation """It is the ninth year of Emperor Mu of Jin's Yonghe era\r The year of the Yin Water Ox,\r At the beginning of the third lunar month,\r We are all gathered at the orchid pavilion in Shanyin County, Guiji Commandery,\r For the Spring Purification Festival.\r All of the prominent people have arrived,\r From old to young.\r This is an area of high mountains and lofty peaks,\r With an exuberant growth of trees and bamboos,\r It also has clear rushing water,\r Reflecting the sunlight as it flows past either side of the pavilion.\r The guests are seated side by side to play the drinking game where a wine cup is floated down the stream and the first person sitting in front of the cup when it stops must drink.\r Although we lack the boisterousness of a live orchestra,\r With a cup of wine here and a reciting of poetry there, it is sufficient to allow for a pleasant exchange of cordial conversations.\r Today, the sky is bright and the air is clear,\r With a gentle breeze that is blowing freely. When looking up, one can see the vastness of the heavens,\r And when looking down, one can observe the abundance of things. The contentment of allowing one’s eyes to wander,\r Is enough to reach the heights of delight for the sight and sound. What a joy.\r Now all people live in this world together,\r Some will take all of their aspirations, and share them in private with a friend;\r Still others will abandon themselves to reckless pursuits.\r Even though everyone makes different choices in life, some thoughtful and some rash,\r When a person meets with joy, he will temporarily be pleased,\r And will feel content, but he is not mindful that old age will soon overtake him.\r Wait until that person becomes weary, or has a change of heart about something,\r And will thus be filled with regrets.\r The happiness of the past, in the blink of an eye,\r Will have already become a distant memory, and this cannot but cause one to sigh;\r In any case, the length of a man’s life is determined by the Creator, and we will all turn to dust in the end.\r The ancients have said, "Birth and Death are both momentous occasions."\r Isn’t that sad!\r Every time I consider the reasons for why the people of old had regrets,\r I am always moved to sadness by their writings,\r And I can not explain why I am saddened.\r I most certainly know that it is false and absurd to treat life and death as one and the same,\r And it is equally absurd to think of dying at an old age as being the same as dying at a young age.\r When future generations look back to my time, it will probably be similar to how I now think of the past.\r What a shame! Therefore, when I list out the people that were here,\r And record their musings, even though times and circumstances will change,\r As for the things that we regret, they are the same.\r For the people who read this in future generations, perhaps you will likewise be moved by these words."""@en, """永和九年，\r 岁在癸丑，\r 暮春之初，\r 会于会稽山阴之兰亭，\r 修禊事也。\r 群贤毕至，\r 少长咸集。\r 此地有崇山峻领，\r 茂林修竹，\r 又有清流激湍，\r 映带左右。\r 引以为流觞曲水，列坐其次；\r 虽无丝竹管弦之盛，\r 一觞一咏，亦足以畅叙幽情。\r 是日也，天朗气清，\r 惠风和畅，仰观宇宙之大，\r 俯察品类之盛，所以游目骋怀，\r 足以极视听之娱，信可乐也。\r 夫人之相与俯仰一世，\r 或取诸怀抱，晤言一室之内；\r 或因寄所托，放浪形骸之外。\r 虽趣舍万殊，静躁不同，\r 当其欣于所遇，暂得于己，\r 快然自足，不知老之将至。\r 及其所之既倦，情随事迁，\r 感慨系之矣。\r 向之所欣，俛仰之间，\r 已为陈迹，犹不能不以之兴怀；\r 况修短随化，终期于尽。\r 古人云﹕「死生亦大矣。」\r 岂不痛哉！\r 每揽昔人兴感之由，\r 若合一契，未尝不临文嗟悼，\r 不能喻之于怀。\r 固知一死生为虚诞，\r 齐彭殇为妄作。\r 后之视今，亦由今之视昔。\r 悲夫！故列叙时人，\r 录其所述，虽世殊事异，\r 所以兴怀，其致一也。\r 后之揽者，亦将有感于斯文。"""@zh, """永和九年，\r 歲在癸丑，\r 暮春之初，\r 會于會稽山陰之蘭亭，\r 脩禊事也。\r 群賢畢至，\r 少長咸集。\r 此地有崇山峻領，\r 茂林修竹，\r 又有清流激湍，\r 映帶左右。\r 引以為流觴曲水，列坐其次；\r 雖無絲竹管弦之盛，\r 一觴一詠，亦足以暢敘幽情。\r 是日也，天朗氣清，\r 惠風和暢，仰觀宇宙之大，\r 俯察品類之盛，所以遊目騁懷，\r 足以極視聽之娛，信可樂也。\r 夫人之相與俯仰一世，\r 或取諸懷抱，晤言一室之內；\r 或因寄所托，放浪形骸之外。\r 雖趣舍萬殊，靜躁不同，\r 當其欣于所遇，暫得于己，\r 快然自足，不知老之將至。\r 及其所之既倦，情隨事遷，\r 感慨係之矣。\r 向之所欣，俛仰之間，\r 已為陳迹，猶不能不以之興懷；\r 况修短隨化，終期于盡。\r 古人云﹕「死生亦大矣。」\r 豈不痛哉！\r 每攬昔人興感之由，\r 若合一契，未嘗不臨文嗟悼，\r 不能喻之于懷。\r 固知一死生為虛誕，\r 齊彭殤為妄作。\r 後之視今，亦由今之視昔。\r 悲夫！故列敘時人，\r 錄其所述，雖世殊事異，\r 所以興懷，其致一也。\r 後之攬者，亦將有感於斯文。"""@zh, """Yǒnghé jiǔ nián,\r suì zài guǐ chǒu,\r mùchūn zhī chū, \r huì yú guì jīshān yīn zhī lántíng, \r xiū xì shì yě. \r Qún xián bì zhì, \r shǎo zhǎng xián jí. \r Cǐdì yǒu chóng shān jùn lǐng,\r mào línxiūzhú,\r yòu yǒu qīngliú jī tuān,\r yìng dài zuǒyòu. \r Yǐn yǐ wéi liúshāng qū shuǐ, liè zuò qícì; \r suī wú sīzhú guǎnxián zhī shèng,\r yī shāng yī yǒng, yì zúyǐ chàngxù yōuqíng. \r Shì rì yě, tiān lǎng qì qīng,\r huìfēng hé chàng, yǎng guān yǔzhòu zhī dà, \r fǔchá pǐnlèi zhī shèng, suǒyǐ yóu mù chěng huái,\r zúyǐ jí shìtīng zhī yú, xìn kělè yě. \r Fūrén zhī xiāng yǔ fǔyǎng yīshì, \r huò qǔ zhū huáibào, wù yán yī shì zhī nèi;\r huò yīn jì suǒ tuō, fànglàngxínghái zhī wài. \r Suī qù shě wàn shū, jìng zào bùtóng, \r dāng qí xīn yú suǒ yù, zàn dé yú jǐ, \r kuài rán zìzú, bùzhī lǎo zhī jiàng zhì. \r Jí qí suǒ zhī jì juàn, qíng suí shì qiān, \r gǎnkǎixìzhī yǐ. \r Xiàng zhī suǒ xīn, fǔ yǎng zhī jiān, \r yǐ wèi chénjì, yóu bùnéng bù yǐ zhī xìng huái; \r kuàng xiū duǎn suí huà, zhōng qī yú jìn. \r Gǔrén yún﹕`sǐshēng yì dà yǐ.'\r Qǐ bù tòng zāi! \r Měi lǎn xī rén xìng gǎn zhī yóu, \r ruò hé yī qì, wèicháng bù lín wén jiē dào, \r bùnéng yù zhī yú huái. \r Gù zhī yī sǐshēng wèi xū dàn,\r qí péng shāng wèi wàng zuò. \r Hòu zhī shì jīn, yì yóu jīn zhī shì xī.\r Bēi fū! Gù liè xù shí rén, \r lù qí suǒ shù, suī shì shū shì yì,\r suǒyǐ xìng huái, qí zhì yī yě. \r Hòu zhī lǎn zhě, yì jiāng yǒu gǎn yú sīwén."""@zh-Latn . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Meditation (沉思)"@en, " 沉思"@zh, "Chénsī"@zh-Latn ; wdt:P170 ; wdt:P180 ; wdt:P186 , , ; wdt:P2048 "40 cm" ; wdt:P2049 "123 cm" ; wdt:P462 , , , , , ; wdt:P571 "2021"^^xsd:gYear ; wdt:P941 ; sch:thumbnailUrl ; write:description """This artwork is an ink-and-color calligraphic painting realized by Pu Lieping in 2021. It is inspired by the symphonic intermezzo “Meditation” from the opera Thaïs by Jules Massenet. The artwork translates the emotional atmosphere and melodic structure of the violin into visual form through the language of Chinese calligraphy.\r The composition is characterized by thin, drifting brushstrokes that resemble floating threads, echoing the lyrical movement of the violin melody. Pale ink washes spread across the surface of the paper, creating a spacious atmosphere and emphasizing the contrast between emptiness and presence. Richer ink tones and thicker strokes introduce rhythmic variation and suggest the deeper resonance of the orchestral accompaniment.\r Subtle touches of color, including faint tones of red, blue, and green, enhance the visual atmosphere while maintaining the restrained aesthetics of ink painting. Through this synesthetic translation of sound/music into calligraphic gesture, the work expresses a contemplative emotional state and demonstrates the expressive potential of the ink-based art of Chinese characters (hanzi shuimo yishu 汉字水墨艺术).""" ; write:hasVisualArtworkType ; write:hasColophon true ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q7725310 ; wdt:P1476 "Earth Script (土书) "@en, "土书"@zh, "tǔ shū"@zh-Latn ; wdt:P170 ; wdt:P580 "2015"^^xsd:gYear ; wdt:P582 "2018"^^xsd:gYear ; sch:thumbnailUrl ; write:description """This series was realized in 2018. This series includes works created entirely with soil and water. Ink strokes are replaced by mud, produced through the combination of site-specific soil and water. This mixture spells out characters Origin (ben 本), Colour (se 色), Dust (in two forms: the simplified character chen 尘[塵] and a graphic variant of the non-simplified character chen 薼), Earth (tu 土), and Hope (Wang 望). The content implied by these characters is influenced by Buddhist thought and reflects on the essence of existence. Her engagement with soil starts with the colleciton of soil (cai tu 采土), then prepares mud pigments by mixing soil with water and other media.\r Song Chen deepened her engagement with soil in another series realized in 2023 and titled Book of Soil - Yangtze River (Turang zhi shu – Changjiang 土壤之书·长江). The project was recorded in a documentary video (Chen 2023). """ ; sch:image ; write:includesArtwork . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "From Ink to Apparel III - TSAI Yi-Fen Collection"@en, "读衣III — 蔡宜芬時裝"@zh, "Dú yī III — Cài Yífēn shízhuāng"@zh-Latn ; wdt:P170 ; wdt:P580 "2018"^^xsd:gYear ; sch:thumbnailUrl ; write:description """This collection by Tsai Yi-fen is part of the exhibition "2018 From Ink to Apparel III" that was held in Taipei. The purpose of this exhibition is to promote Chinese culture in Taiwan through calligraphy art. Curator Tong Yang-Tze invites diverse and talented fashion designers of Chinese ethnicity to participate, create, and accumulate design context inspired by the calligraphy lines. Besides Tsai Yi-fen, other five desigers took part in the exhibition: two from Taiwan (Chou Yu-Ying, Chen Shao-Yen), two from Beijing (Li Ying-Jun, Zhou You) and one from UK (Pan Bernice).The exhibition theme is “wu 無" (emptiness). Tong Yang-tze wrote fourteen fonts of this character which are variations of the cursive script, running script, regular script, clerical script, and seal script. The forms of these characters are distinct, but designers must interpret them visually to form structures, materials, and prints from the fluidity of calligraphy lines and the spaces amongst them.\r This collection by Tsai Yi-fen is composed of five dresses. It combines lacework and beaded embroideries to create unique textures and tailoring, displaying the space between the real and the void."""@en ; sch:image ; write:includesArtwork . a wd:Q464980 ; wdt:P10661 , ; wdt:P1476 "From Ink to Apparel II"@en, "读衣 II"@zh, "Dú yī II"@zh-Latn ; wdt:P1640 ; wdt:P276 ; wdt:P580 "2017-11-16"^^xsd:date ; wdt:P582 "2017-11-19"^^xsd:date ; sch:thumbnailUrl ; write:description """From Ink To Apparel II (Duyi 讀衣II) was an exhibition project that explored the intersection between contemporary fashion design and Chinese calligraphy. Held in Taipei in 2017, the exhibition represented the second edition of a research initiative focused on translating the visual and gestural language of calligraphy into the field of wearable design.\r The project investigated how calligraphy, traditionally understood as a two-dimensional practice based on ink and paper, could be reinterpreted through textile materials and the three-dimensional structure of garments. Rather than functioning merely as decorative motifs, calligraphic elements were treated as generative principles capable of informing the construction, silhouette, and spatial dynamics of the clothing.\r Central to the exhibition was the engagement with the calligraphic practice of Tong Yang-tze, whose work is characterized by expansive, expressive, and highly gestural brushstrokes. Designers participating in the project developed garments that translated these strokes into fabric structures, layered compositions, and printed surfaces. Through processes such as enlargement, fragmentation, and recontextualization, the calligraphic mark was transformed into a visual and structural component within fashion design."""@en ; write:exhibitedArtwork ; sch:image . a write:DecorativeAndAppliedArt ; wdt:P1476 "Xu Bing for Château Mouton Rothschild - Label for the Château Mouton Rothschild 2018"@en ; wdt:P180 , , ; wdt:P186 ; wdt:P2048 "24 cm" ; wdt:P2049 "18 cm" ; wdt:P462 , , , , ; wdt:P571 "2018"^^xsd:gYear ; wdt:P856 ; wdt:P88 ; wdt:P941 ; sch:thumbnailUrl ; write:calligrapher ; write:description """For the label of the 2018 vintage, one of France’s most celebrated and prestigious wineries, Château Mouton Rothschild chose the renowned Chinese artist Xu Bing, master of "Square Word Calligraphy", an innovative calligraphic system in which English words visually take on the appearance of Chinese characters, while remaining readable as Latin letters. Rather than writing the letters in a linear sequence, Xu Bing reorganizes and subtly adapts them within a compact square structure, echoing the uniformity of Chinese characters.\r The label features the letters composing the brand name “Mouton Rothschild”, aesthetically transformed into calligraphic signs that maintain rhythm, harmony, and poetic legibility. The composition conveys fluidity and movement, turning the writing into a true visual meditation. The colophon on the right-hand side of the label also presents the artist’s name in the style of "Square Word Calligraphy"."""@en ; write:hasColophon true ; write:hasDecorativeArtworkType ; write:hasSeal true ; write:hasUnit ; sch:image . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "Left/Right: Deviation from the Centre (左右：偏离正中)"@en, "左右：偏离正中"@zh, "Zuǒyòu: piānlí zhèngzhòng"@zh-Latn ; wdt:P175 ; wdt:P180 , , , , , ; wdt:P186 wd:Q127418 ; wdt:P276 ; wdt:P585 "2001"^^xsd:gYear ; write:description """This public performance by Qiu Zhijie takes place in a museum of Oslo. The performer wears special shoes with the words "right" and "left" engraved to the sole both in Chinese characters and in latin letters. The performer is blindfolded and he tries to find the exit on the other side of a narrow hallway. On the floor, between the performance starting point and the exit, there is a line made of ink. If the performer walks straight, he reaches the exit without leaving any shoe prints behind. If he trails from the path, the words "left" and "right" will be imprinted to the surrounding floor, and he might run into the wall. The performance continues until the performer finally walks out of the exit.\r Through this performance, Qiu Zhijie overturns the concept of "space", inverting its main terms (left/right). The space becomes a concealed place of dishorientation. The experience felt by the performer is emblematic of the condition of contemporary people, that have lost their certainties and their straight path. \r \r In 2002, Qiu Zhijie does a similar performance, entitled "The Long March: Left / Right"(长征 : 左右). In this performance, Qiu Zhijie becomes the performer. Qiu Zhijie wears a pair of special shoes during the road trip. Beneath the left shoe there is a stamp depicting the character 右 (right) and the word "right", while beneath the right shoe there is the character 左 (left) and the word "left". In this manner, Qiu Zhijie leaves imprints of "left" and "right" during his journey. Most of the time the imprints remain invisible, and they exist unconsciously. These imprints are only visible when Qiu Zhijie walks across mud (on a soft soil) or when the shoe soils are wet after raining. \r This performance takes place in different locations, e.g. Lugu Lake in Yunnan , "Flying Tigers" airport in Lijiang, the site of Zunyi Meeting (in Guizhou), and the Luding Bridge in Sichuan.\r These performances are part of the art project entitled "Long March - A Walking Visual Display". During this project, Qiu Zhijie and his partner Lu Jie, accompanied by over 250 people from China and abroad (artists, curators, writers, scholars), visited 12 of the 20 historical sites of China’s Long March. Working with local communities along the road in a renegotiation of the past and its multifaceted remembering, artworks were realised, performances enacted and affairs debated concerning a diverse array of issues, such as the question of authorship, place as a site of memory, and the meaning of social exchange through mobility.\r """@en ; write:hasPerformingArtworkType ; write:hasUnit ; write:madeUsingTool wd:Q1308336 . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Bright Snow (晴雪）"@en, "晴雪"@zh, "Qíng xuě"@zh-Latn ; wdt:P170 ; wdt:P180 , , ; wdt:P186 , ; wdt:P2048 "70 cm" ; wdt:P2049 "153 cm" ; wdt:P462 , ; wdt:P571 "1985"^^xsd:gYear ; sch:thumbnailUrl ; write:description "“Bright snow”, executed in 1985 by Shao Yan, is an artwork composed by two characters and a lower-left little inscription. The wo characters, qing 晴 (“bright”), whose edges look like carved wood signs, and xue 雪 (“snow”), fat and thick with a firm central part, represent a surprising contrast just like the sunlight that spreads with roar over the silent snow. For both characters, Shao Yan adopts the “flying white” (feibai飞白) technique, which means using the half-dry brush, in order to represent the wild landscape of Northern China struck by violent snowstorms. The little inscription is written with brushstrokes full of ink and it has an angular shape, balancing the entire calligraphy. This work is one of the first experimental works by Shao Yan: as the artist was influenced by the “few characters” Japanese calligraphic movement, the structure of each character embodies the meaning of the character itself."@en ; write:hasVisualArtworkType ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Sea (海)"@en, "海"@zh, "Hǎi"@zh-Latn ; wdt:P170 ; wdt:P180 , , , , ; wdt:P186 , , ; wdt:P2048 "69 cm" ; wdt:P2049 "67 cm" ; wdt:P462 , ; wdt:P571 "2001"^^xsd:gYear ; write:description """“Sea” (海), executed in 2001 by Shao Yan, is the second version of the work also called “Sea” carried out in 1995 by the author himself.\r Influenced by the painters Liu Guosong 刘国松 (1932 -) and Zhou Shaohua 周韶华 (1929 -), in 2001 the artist introduces a new technique consisting of the repeated execution of strokes on the paper which will later be washed in water. After the washing process, the path taken by the tip of the brush shines clearly on the paper, there is a large amount of ink and various intense gradiations. Shao Yan pays particular attention to the spacial order and the composition of the artwork but, introducing the element of water, he adds the concept of time to the construction of calligraphic space. He thus emphasises the instantaneous and unrepeatable nature of artistic creation.\r Compared to “Sea” executed in 1995, this artwork is characterised by three-dimensional lines and better reproduces the blue-green color of the sea, its illusory and calm appearance and the abstract aesthetic beauty of form until the work reaches the perfect union of form and content."""@en ; write:hasVisualArtworkType , ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Army (军)"@en, "军"@zh, "Jūn"@zh-Latn ; wdt:P170 ; wdt:P180 , , , , ; wdt:P186 , , ; wdt:P2048 "68 cm" ; wdt:P2049 "68 cm" ; wdt:P462 , ; wdt:P571 "2003"^^xsd:gYear ; write:description """"Army" (Jun 军) is an artwork executed in 2003 by Shao Yan. Influenced by Western analythical cubism, the artist modifies the original structure of the characters preventing their identification, denies the concept of classical perspective and destroys the calligraphic space, breaking it up and reorganising it into simple geometric shapes such as triangles and polygons.\r In “Jun” the geometric structure is concentrated on the central line while the outermost part, towards the edge, is airier and more open. Shao Yan thus wants to emphasise the layering and light effect produced by the geometric cut. The material structure is dominated by the geometric appearance of the lines that gather into inclined angular planes, and the straight lines and oblique planes suggest the changing position of the Chinese character structure. Shao Yan executed the work using ink 'washed' with water, which, unlike Western oil painting, softens the geometric deconstruction of the characters structure."""@en ; write:hasVisualArtworkType , ; write:hasUnit ; write:madeUsingTool . a write:TraditionalArtwork ; wdt:P1476 "This Baiju Valley (此白驹谷)"@en, "此白驹谷"@zh, "Cǐ bái jū gǔ"@zh-Latn ; wdt:P170 ; wdt:P571 "0513"^^xsd:gYear, "0515"^^xsd:gYear ; write:description """The inscription of this rubbing is entitled "This Baiju Valley" (Ci Baiju gu 此白驹谷). According to the data, this inscription was inscribed by Zheng Daozhao 郑道昭 (? - 515) during his tenure as the prefect of Qingzhou. The full text of the inscription is "Zhongyue xiansheng ying yang zheng daozhao you pan zhii shangu ye ci bai ju gu 中岳先生荧阳郑道昭游槃之山谷也此白驹谷" ("The Valley where Mr. Zhongyue Yingyang Zheng Daozhao visited Pan is also Baiju Valley") and "This Baiju Valley" has a total of 19 characters. The entire inscription is one foot square in diameter. It is a precious treasure of calligraphy art in Weifang.\r The technique of rubbing consists in applying a sheet of paper with longer and more resisting fibers to the rocky surface of a cliff, stele or even small seal stone, to then ink the sheet, and take a life-size copy of the rubbed surface. An inversion in the perception of relief and shade takes place when intaglio lines become white, and relief parts, black. Obviously, while deep intaglio is totally white and high relief, black, there is a whole realm of in-betweenness where the middle grounds, low relief and smooth concavities can only be expressed in shades of grey. Rubbing is thus extremely interpretative and is a form of indirect perception, comparable to photography.\r """@en ; write:hasTraditionalArtworkType , . a write:TraditionalArtwork ; wdt:P1476 "Peaceful and Happy Buddha (安樂佛)"@en, "安樂佛"@zh, "Ānlè fú"@zh-Latn ; wdt:P170 ; wdt:P571 "0550"^^xsd:gYear, "0577"^^xsd:gYear ; write:description """This artwork is a fragment of a rubbing inscription entitled "Stele of An Gong (An Gong zhi bei 安公之牌)" realized by the monk Seng' An Daoyi 安道壹 during the Northern Qi Dynasty (550–577).\r The "Stele of An Gong" is one of the total 23 inscriptions found on the Northern cliff at Mount Hongding, in the north bank of Dongping Lake (Shangdong Province). \r The structure of Seng An’s characters, the calligraphic strokes and their technical execution in stone, as well as the monumental dimensions of the inscriptions are all elements which find no comparison in contemporaneous calligraphic production, under the Northern Qi Dynasty (550-577). The content of his epigraphy does not match contemporaneous mainstream religious texts or imagery. The sites that Seng' An marked are located in a peripheral area with respects to the imperial capital city of the time, Ye 鄴, in mountainous fringes neighbouring important pre-existing sacred sites such as Mount Tai 泰山. Unlike any known early epigrapher, Seng' An Daoyi carved directly on the raw, undressed stone surface, merging the shape of the text with the pre-existing shapes of nature. The characters follow or avoid folds and cracks, and they are animated by the movement of the water.\r Seng An Daoyi extracted meaning from the sūtras, in the form of fragmentary passages, names and isolated sounds, creating his own esoteric dictionary. We also find complete inventions such as the mountain Buddha names, personal statements, and liberties taken in translation and in transcription. In a movement ‘from text to language’, Seng' An Daoyi extracted meaning from chosen sections of the sūtras, repeating this selection of fragmentary passages from one site to another, and mimicking the logical structure of sūtras in word games of his own. Bridging text to the mountain, Seng' An Daoyi builds up a chain of transformations, where, through the stele format, language is revisited, transcended, deconstructed and re-assembled. Going further into the language, and taking advantage of a supplementary level of language offered by the Chinese script, Seng' An Daoyi uses the format of names and the obvious anthropomorphic aspects of identification to bring calligraphy beyond the very structure of Chinese characters.\r The technique of rubbing consists in applying a sheet of paper with longer and more resisting fibers to the rocky surface of a cliff, stele or even small seal stone, to then ink the sheet, and take a life-size copy of the rubbed surface. An inversion in the perception of relief and shade takes place when intaglio lines become white, and relief parts, black. Obviously, while deep intaglio is totally white and high relief, black, there is a whole realm of in-betweenness where the middle grounds, low relief and smooth concavities can only be expressed in shades of grey. Rubbing is thus extremely interpretative and is a form of indirect perception, comparable to photography."""@en ; write:hasTraditionalArtworkType , . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P21 ; wdt:P2561 "Zhang Kaini 张凯妮" ; wdt:P27 ; wdt:P453 ; wdt:P800 . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Peach blossoms fall in a chaotic rain of red dust (桃花乱落红尘雨)"@en, "桃花乱落红尘雨"@zh, "Táohuā luàn luò hóngchén yǔ"@zh-Latn ; wdt:P170 ; wdt:P180 , , , , , , , ; wdt:P186 , ; wdt:P2048 "270 cm" ; wdt:P2049 "56 cm" ; wdt:P462 , ; wdt:P571 "1995"^^xsd:gYear ; write:description "“Peach blossoms fall in a chaotic rain of red dust” is an “artwork with more characters” (duozishu chuangzuo多字数创作) executed by Shao Yan in 1995. It earned him the first prize at the Sixth National Exhibition of Young Calligraphers and Seal Engravers. The work, considered by the author himself the most representative work of modern calligraphy he had ever created until 2011, when he brushed out “Flying Good Luck” (see the artwork in the archive), is characterised by a huge variation in the thickness of the lines and by words that seem to radiate from the centre of the work and to continue beyond the paper’s edge. The words are executed in an original cursive form, achieved by frequently changing the speed and direction of the brush until the characters become almost unreadable, in order to emphasise the harmony and movement of the lines. Shao Yan drew inspiration from the poem “Invitation to Wine” (Jiangjinjiu 将进酒), written by the poet Li He 李贺 (790-816) in which the author describes the day of youth about to twilight through the image of peach blossoms falling like red rain and invites people to spend their last happy years of youth in the company of wine and entertainment.The artwork is executed not only with a usual brush but also with \"doubi 斗笔\", a large brush with the tip mounted on the final part of the bucket-shaped handle. The artwork is executed in a vertical format to call to the viewer's mind the poetic image of the falling peach blossoms and it is composed by horizontal lines and dots that cover the work and recall the lines of a score embellished with musical notes. This creates a perfect union between the spatial structure of Chinese characters and the temporal rhythm, which reminds of the crackling red rain. With this artwork, Shao Yan does not want to reproduce the meaningful forms of the characters but wants to convey to the observer the feeling evoked by the poetic verses."@en ; write:hasVisualArtworkType , ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "The Thirty-Six Stratagems of using ink (墨法三十六计)"@en, "墨法三十六计"@zh, "Mò fǎ sānshíliù jì"@zh-Latn ; wdt:P170 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P2048 "50 cm (each)" ; wdt:P2049 "50 cm (each)" ; wdt:P462 , ; wdt:P571 "2008"^^xsd:gYear ; write:description "“The Thirty-Six Stratagems of using ink” is an artwork composed of 36 squares executed in 2008 by Shao Yan using a new tool: a syringe with a small ink reservoir. The title of this work is inspired by the literary work called “The Thirty-Six Stratagems” (Sanshiliuji 三十六计), an essay used to illustrate series of stratagems, used in politics, war and civil interaction. Using this reference, Shao Yan wants to \"fight death\" through the artistic action. When in 2007 the artist was hospitalized to undergo several heart surgeries, he realized that the brush was a tool too far from his heart, so he thought that the syringe could link him better with the experience of life and death he had lived, and began experimenting with it. This artwork is, in fact, Shao Yan's first experiment using a syringe of ink instead of a brush, the so called “ink shooting” (shemo 射墨) to write lines without meaning. The thick ink, squirting out of the syringe toward the paper, reminds of blood and the artist's life is the force that drives the tool. The entire artistic process is characterized by the force of the syringe, the force of gravity, the speed of the jet and the direction that create numerous ink marks of multiple shapes. Through this early experiment with the syringe, Shao Yan was amazed by the fan-like shapes that the ink, hurled at high speed like a projectile, formed on the paper, and this expedient enabled him to produce different shapes of lines and marks."@en ; write:hasVisualArtworkType , , ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Flying Good Luck (飞来好运)"@en, "飞来好运"@zh, "Fēi lái hǎo yùn"@zh-Latn ; wdt:P170 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P2048 "230 cm" ; wdt:P2049 "100 cm" ; wdt:P462 , ; wdt:P571 "2011"^^xsd:gYear ; write:description "“Flying Good Luck” is a huge artwork executed in 2011 by Shao Yan that represents his greatest masterpiece. For this work, he used a long and sharp brush, which he dipped in thick ink to execute the characters in cursive script. With a series of sharp strokes on the paper, changes of direction, arching and lifting the brush, Shao Yan brushed the first two characters, fei 飞 (“to fly”) and lai 来 (“to come”), from the upper part toward the lower part of the work. At this point, he dipped the brush in a small amount of ink, lifted it up, quickly drawing in the air a semi-circular arc and scattering dots of ink in order to give life to the character hao 好 (“Good”). To execute the character yun 运 (“Luck”) he used the paibi 排笔 (a brush composed of small brushes joined together) tilted at a 45-degree angle and loaded with ink. In the bottom right-hand corner Shao Yan placed two seals in vermilion red that balance the work. The artwork evokes the image of a boat carried by the wind: the oblique part of the character \"yun\" recalls the prow of the boat hit by the splashing waves, the vertical strokes of \"yun\" 云 \"lai\" 来 and \"hao\" 好 symbolize the mast of the boat and the ink splashes represent the sails rolled up by the wind."@en ; write:hasVisualArtworkType , ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P462 ; sch:thumbnailUrl , , , , , , , ; write:attributedTitle "CWU Zhang Qiang's Traceology Report A/X7 (Zhang Kaini) (lines)" ; write:description "The CWU of the eight artworks created during the performance \"Zhang Qiang's Traceology Report A/X7 (Zhang Kaini) [张强踪迹学报告 A/X7 (张凯妮) 模型]\" are the result of the interaction between Zhang Qiang and Zhang Kaini. These CWU are composed of \"abstract\" calligraphic lines and body prints."@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; sch:image , , , , , , , ; write:isUnitOf , ; write:madeUsingTool , . a wd:Q17514 ; wdt:P1476 "Dezio (度西奥)"@en, "度西奥"@zh, "Dùxī'ào"@zh-Latn ; wdt:P170 ; wdt:P180 , ; wdt:P186 , ; wdt:P276 , ; wdt:P462 , , , , , , , ; wdt:P571 "2010"^^xsd:gYear ; wdt:P6375 "Moganshan Road, Shanghai"@en ; write:description "Duxi’ao 度西奥 is one of several examples of Dezio's Chinese name tag pieces. This artwork was painted maybe in 2008-2010 in Moganshan Road. Dezio used for the charactering a bubble style with 3D effects, embellished with two lightning bolts and a puppet on a blue background. The character xi 西 (West, Western) in the center of the piece is shaped like a yellow sullen face. It is interesting to note how the puppet xi 西 meaning \"West, Western\" is interlocked between two red colored Chinese characters that are not puppets. The yellow figurative element with a sullen face recalls an apple, that probably could stand for \"the big apple\" in memory of New York city. On the right side of the piece, there is the writing \"Contact @dezio.fr\"."@en ; write:hasChengyu false ; write:hasChineseConcept ; write:hasColophon false ; write:hasGraffitiGenre ; write:hasGraffitiStyle , , , ; write:hasGraffitiType , ; write:hasOtherVisualElement , , ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a wd:Q17514 ; wdt:P1476 "Demolition (拆)"@en, "拆"@zh, "Chāi"@zh-Latn ; wdt:P170 ; wdt:P180 , , ; wdt:P186 , ; wdt:P276 ; wdt:P462 , , , ; wdt:P571 "2008"^^xsd:gYear ; wdt:P6375 "Moganshan Road, Shanghai"@en ; write:description """The artwork “Demolition (Chai 拆)” was painted in 2008 as a reaction to the city’s rapid dismantling and a protest against the demolition of historic, old buildings. De facto, the character “chai 拆” means “to demolish a building and relocate the inhabitants” and is basically used to mark an old building that had been scheduled for demolition. It is usually painted in red on house walls. In this piece, Dezio portrays his protest against the demolition of old buildings by personifying the “chai 拆” character: on the left, the radical “hand 扌” becomes a hand holding a hammer and “hitting” the radical “jin 斤” (on the right side), depicted as an old Chinese house in the process of demolition. The personified “chai 拆” is painted with a white fill-in and a black outline and is bombed with lots of original Chinese “chai 拆” character, marked in red and circled. On the left side, there is the tag “dezione”, on the right side there is the year of the creation”2008”. The “Chai 拆” character has two different backgrounds: the first is a yellow burning star with a red outline, the second is the black wall.\r """@en ; write:hasChengyu false ; write:hasChineseConcept , ; write:hasColophon true ; write:hasGraffitiGenre , ; write:hasGraffitiStyle , , ; write:hasGraffitiType ; write:hasOtherVisualElement , ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P180 , , , , ; wdt:P186 , , ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU Zhang Qiang's Traceology Report A/B 94 (Cao Rui) Model (lines)" ; write:description "This CWU is the result of the \"Zhang Qiang Traceology Report A/B 94 (Cao Rui) Model [张强踪迹学报告 A/B 94 (曹蕊) 模型]\". In this performance, Zhang Qiang introduces the new concept of “conceptual clothing” (“观念服装”). For this performance, Zhang Qiang collaborates with Zhao Jingyu 赵泾羽, a Beijing fashion designer specializing in western styles who makes dresses for him out of white calligraphy paper. Her creations are put on by the professional model Cao Rui 曹蕊, who assists Zhang Qiang in his art by allowing him to paint on the paper dresses she is wearing. The result of the performances are only unreadable black ink traces (lines and spots). "@en ; write:directionality "Free" ; write:hasBackgroundColour , ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; sch:image ; write:isUnitOf , ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Desolation (幽)"@en, "幽"@zh, "Yōu"@zh-Latn ; wdt:P170 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P2048 "2 m" ; wdt:P2049 "2 m" ; wdt:P462 , ; wdt:P571 "2008"^^xsd:gYear ; sch:thumbnailUrl ; write:description """“Desolation” is an enormous artwork executed in 2008 by Shao Yan who was now increasingly interested in social topics and involved in deep thoughts about the meaning of life. On 12 May 2008, Sichuan Province in southwestern China was devastated by a magnitude-7.9 earthquake which caused the collapse of buildings, schools and roads and the death of at least 70,000 people. Shocked by the news, Shao Yan decided to carry out “Desolation” (You 幽), to express, through the deconstruction of "you", the reflection and fear provocked by the tragic event occured. Speaking of this work, he said that the paper reminded him of the earthquake-stricken land of southern China and that he was given the mission to save the world, grab the devil by the throat, save the Earth, even secure human beings, make the mountains and rivers peaceful and enchanting places. \r Shao Yan uses a paibi 排笔 brush (composed of small brushes joined together) and a long-tipped brush. The concave bottom of the character "you", that should be intact and smooth, appears instead as a shaking groove. The bottom left corner tilts out of the work while the top right corner leaps in mid-air, filling the work with an enormous sense of instability like mountains collapsing as the earth quakes. The central part of the work is executed with a dry brush that creates the shapes of the cracks. Both '幺' elements of the character tilt and succumb together with the entire structure. The work is criss-crossed by dots and ink splashes that look like a crowd scattering in different directions but, there is no possibility to escape because it is impossible to elude natural disasters."""@en ; write:hasVisualArtworkType , , ; write:hasUnit ; sch:image ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P180 , , , , , ; wdt:P186 , ; wdt:P462 ; write:attributedTitle "CWU Ink Shooting (lines)" ; write:description "This CWU is part of the performance \"Ink Shooting\" (射墨) executed by Shao Yan in 2017 at the \"Taishan Large-Scale Painting and Calligraphy Art Expo\" - Shangdong province (泰山大型书画艺术品博览会). The calligraphic lines are made of streams of ink, created using four syringes which squirt ink on a long sheet of paper by means of sudden movements of the artist. "@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; write:isUnitOf , ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 , ; wdt:P462 ; sch:thumbnailUrl , ; write:attributedTitle "CWU Biface Graphy - Ink Action in Venice (lines)" ; write:description "This CWU is part of the performance \"Biface Graphy - Ink Action in Venice (双面书法 - 威尼斯行墨)\". Lines are realized by Zhang Qiang and Lia Wei with calligraphic brushes and ink; they are not readable, but constructed through the interaction of the two brushes writing simultaneously, conscious of each other’s movement."@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; sch:image , ; write:isUnitOf , ; write:madeUsingTool . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Chaos Series (混沌系列)"@en, " 混沌系列"@zh, "Hùndùn xìliè"@zh-Latn ; wdt:P170 ; write:description """Chaos Series (混沌系列) is a series by Shao Yan combining the technique of ink “washed” in water (shui de “chongxi” 水的 “冲洗”) with the use of a syringe. This series is composed of about a dozen works; some of them are currently located abroad, while the others are stored in China. \r The artist added water to the ink in the syringe and then injected it on the paper allowing it to flow strongly and freely. The syringe emits a rustling sound that remembers the heart's pained cry when blood is sucked through the aorta artery. The initial buzzing sound emitted by the ink escaping from the syringe, gradually fades into silence. The sound could represent the flowing blood that, when stopping, puts an end to life."""@en ; write:includesArtwork . a write:CalliWritingUnit ; wdt:P144 ; wdt:P1480 ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 Landscape Painting PIC (《临江仙》)" ; write:description """This Calli-Writing Unit is the second inscription, on the upper left-hand corner. It is a long calligraphy composed of 45 columns of Chinese characters written in a highly stenographic cursive style (caoshu 草书), in which the strokes of the characters are merged sometimes, impairing their recognizability. It is written in vertical columns to be read from right to left and from top to bottom, as is customary in classical Chinese, and is embellished by a pronounced dripping effect, which seems to simulate ink drippings on paper. The calligraphic style (caoshu), the variation of the width of the strokes, the arrangement of the text in vertical columns (from top to bottom), and the reading direction (from right to left) follow the traditional calligraphic manner and recalls the strict rules of Chinese traditional calligraphy, but a widespread ‘dripping’ effect underlines the graffiti taste. \r The content of the calligraphy is inspired by a Song poem entitled "Immortal at the River" (Lin jiang xian 临江仙) composed by Teng Zijing 滕子京 (990-1047). In this poem, Teng Zijing describes the delightful landscape surrounding the Dongting Lake (prov. Hunan) during a misty autumn morning, evoking a melancholy atmosphere.\r According to Chinese classical aesthetic principles, in Shanshui PIC the use of Teng Zijing’s poetry (shi 诗) written in calligraphic style (shu 书) to enhance the depiction of a landscape painting (hua 画) suggests the reference to the so-called “three perfections” (sanjue 三绝), the Chinese indissoluble artistic triad of “poetry, calligraphy, and painting” (shi shu hua 诗书画) that represents one of the basis of Chinese traditional culture. From the eighth century onward, in China these three art forms have been known as the ‘three perfections’ (san jue 三绝), and they have been intimately connected in the minds of the ‘Chinese literati’ (wen ren 文人), representing the basis of traditional Chinese culture. The strict link among these three art forms is composed of three different aspects: the relationship between poetry and painting, calligraphy and poetry, and calligraphy and painting. In Shanshui PIC, this binomial between poetry and painting was realised by two elements: the first one is Teng Zijing’s poem, which is a vivid representation of scenery and fuses scene and mood; the second one is the landscape painting that can be described as being ‘poem-like’ (shi yi ban de 诗一般的). The strict relationship between calligraphic technique and literally content has been restated by the use of ‘cursive script’ (caoshu). Cursive script is faster to write than other styles, so in Shanshui PIC (and in particular in the long calligraphy written by EricTin) it embodies the fleeting nature of the joy of the encounter described in Teng Zijing’s poem and it is an echo of the brief meeting between the graffiti work and the people walking down the street experimented by the writers themselves while shaping their piece. Finally, the binomial between calligraphy and painting is realized by the use of the same artistic instrument: traditionally it was the brush, here is the spray can that is employed to shape both calligraphy and painting producing similar effects. In Chinese traditional art, in fact, “the brush, the instrument of the calligrapher, is also used by the painter, and the results produced by the use of dots and strokes are similar” (Qi 1991, 13). Similarly, in this work, the spray can, the instrument of the graffiti writer, is used for shaping both calligraphy and painting and the result produced by dripping and outlines techniques is equal. So, we can affirm that, in this graffiti piece as well as in any traditional painting, ‘calligraphy and painting have the same source’ (shuhuatongyuan 书画同源). Crossing these three binomials, Shanshui PIC is a worthy example of the perfect triangulation of the “three perfections” in a contemporary graffiti artwork.\r The choice of get inspiration from the poem "Immortal at the River" (Lin jiang xian 临江仙) and his poet Teng Zijing 滕子京 is extremely significant. Teng Zijing, commonly known by his courtesy name as Teng Zongliang 滕宗谅, was an official and a fellow of the great reformer Fan Zhongyan 范仲淹 (989-1052), who was the Chancellor of the Song Dynasty during the reign of Emperor Renzong (1010-1063). Teng Zijing was famous because in 1045, when he served as local prefect of Yuezhou 岳州 (present Yueyang 岳阳 – Hunan province), he restored the famed ancient Yueyang Tower, a city gate by the side of the Dongting Lake, enlarging its scale and engraving on it the complete anthology of the Tang (618-907) and Song Dynasty poems written in that place. To commemorate this event, Teng Zijing invited Fan Zhongyan to write a descriptive prose entitled Yueyang Lou Ji 岳阳楼记 (On Yueyang Tower), his most famous literature work. In this text, Fan Zhongyan depicted the breathtaking landscape surrounding the Yueyang Tower. Deeply affected by this beautiful scenery, also Teng Zijing decided to compose a poem entitled Lin jiang xian. In this poem, he firstly focused on the most charming part of the delightful landscape, the vast Dongting Lake (l. 1), which dazzled in the morning sun of an autumn day (l. 2). The well-known Junshan Hill with its peaks stood in the middle of the lake, and it is compared to the legendary island of Penglai 蓬莱, a mountain where the Daoist Immortals were said to live (l. 3). In the distance, a grey evening mist was emerging from the Yun and Meng Marshes (l. 4), and slowly faded the city of Yueyang (l. 5). The view of Junshan Hill recalls to poet’s mind the famous legend of the Xiang River Goddness (l. 6). Legend has it that 4,000 years ago when Emperor Shun toured in South China, his two concubines E Huang 娥皇 and Nü Ying 女英 (also called Xiang Fei 湘妃 and Xiang Jun 湘君) went to search for their husband. When they got to the Junshan Hill, they knew he was dead. They wept so long that the bamboos on which their tears dropped changed into mottled bamboos. Later they passed away and were buried on the hill, and to memorialise these two soulful lovers, the mountain was renamed Junshan 君山. In the second stanza of the poem, Teng Zijing commemorated this event evoking a melancholy tune played by the spirits of the Xiang River Goddesses (ll. 6-7). The song permeated the hearts of the listeners while a breeze was spreading the scent of the orchids (l. 8). But when the tune came to an end, people went away (l. 9), disappearing among the green mountains (l. 10). \r In this poem Teng Zijing quoted two other poems of the Tang period: i) the fourth and the fifth lines of his poem coincides with the third and the fourth lines of a poem by Meng Haoran’s 孟浩然 (689-740) entitled Gazing at Dongting Lake, Presented to Prime Minister Zhang’ (Wang Dongting hu zeng Zhang chengxiang 望洞庭湖赠张丞相); while ii) his last two lines correspond to the last two lines of a poem by Qian Qi’s 钱起 (ca. 722-785) entitled Musical soul of the Xiang River (Xiang ling guse 湘灵鼓瑟).\r In Shanshui PIC, the choice of writing the Teng Zijing’s poem “Lin jiang xian” is also a way to reactivate a chain of literary quotations, as it had already happened for the choice of depicting landscape sceneries inspired by Fan Kuan, Wang Ximeng and Qian Xuan’s paintings. The use of quotations is very common in Chinese classical poetry. In this specific case, the transcription of Teng Zijing’s poem activates the quotations’ mechanism in six different ways. In fact, i) in Lin jiang xian, other poems have been quoted (Meng Haoran’s and Qian Qi’s poems); ii) Teng Zijing mentions a famous scenic spot, the Junshan Hill, that since ancient times has been filled with legends, including the most popular of the Xiang River Goddesses recalled in the second stanza; iii) the poem takes inspiration from a place (the Yueyang Tower) that since Tang Dynasty had become a popular place for literati to compose their poems; iv) most of these ancient poems were engraved by Teng Zijing himself on the Yueyang Tower in 1045; v) the Yueyang Tower named in the poem also inspired the descriptive prose entitled Youyang lou ji written by Fan Zhongyan and commissioned by Teng Zejing; iv) the title of the poem is the same as other famous Song poems; all these poems express similar emotions and recall Teng Zijing’s poem, even if with different words. \r The Kwanyin Clan wants to write a poem able to communicate the feelings of loneliness and sadness following a joyful reunion and at the same time able to evoke the landscape scenery painted in the background of their artwork. Teng Zijing’s poem best achieves both these goals, even if the themes of loneliness, melancholy, and nature description are in common with all the listed poems. Because of this similarity, here the quotations’ mechanism is particularly suitable for the crew’s intentions because it refers to hypertexts that share the basic themes of the source text, but amplifying their possible meanings. According to EricTin (interview 2016), in fact, the main function of Teng Zijing’s poem is to describe the content of their artwork and at the same time to express not only the sense of happiness experienced in the encounter with a graffiti work, but also the feelings of loneliness and sadness following this encounter. EricTin explains that this encounter usually ‘lasts very briefly’ (tan hua yi xian 昙花一现) because of the ephemeral and localised status of any graffiti piece. Very few people can see their originals and, at the end, only some photos stored in a computer remain as their records. So the joy of the meeting is replaced with the pain of the parting and the melancholy of the oblivion, as all the ‘quoted’ poems have already testified."""@en ; write:directionality "Traditional" ; write:hasBackgroundColour , ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf , ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 270 ; write:relatedUnit . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Shao Yan White and Blue Porcelain – Calligraphy and Ink Shooting Series (邵岩书法与射墨的青花瓷系列)"@en, "邵岩书法与射墨的青花瓷系列"@zh, "Shào Yán shūfǎ yǔ shè mò de qīnghuācí xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "2022"^^xsd:gYear ; sch:thumbnailUrl ; write:description "This series of works is executed by Shao Yan in September 2022. Inspired by Ming “blue and white porcelain” (Qinghuaci青花瓷), the series is composed of several white vases of different shapes and types (“bottle” vase, “plum” vase, “gourd” vase, “pear shaped” vase, “cylinder” vase etc.) , which are carried out using two distinct tools and techniques: for some of them, Shao Yan writes the characters with a brush while he holds the vase steady with his free hand or he gets help from his assistants (e.g. \"Ruyi\" 如意, \"Feng\" 凤, \"Hai\" 海, \"Ma\" 马, \"Dong nan xi bei si hai ren\" 东南西北四海人, etc. ). For other works, he uses a syringe to inject the blue ink on the vessels that are located on a rotating base. For the entire collection, Shao Yan writes auspicious words carrying a good-luck meaning and he aims to combine the structure of Chinese characters or the lines and marks formed by the ink jet with the shapes of porcelain vases."@en ; sch:image ; write:includesArtwork . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Shao Yan Black and White Ceramics – Calligraphy and Ink Shooting Series (邵岩书法与射墨的百黑瓷器系列)"@en, "邵岩书法与射墨的百黑瓷器系列"@zh, "Shào Yán shūfǎ yǔ shè mò de bǎi hēi cíqì xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "2022"^^xsd:gYear ; sch:thumbnailUrl ; write:description "This series is executed in August 2022 by Shao Yan. The series is composed of several white dishes and vases of different shapes and types (“bottle” vase, “plum” vase, “gourd” vase, “pear shaped” vase, “cylinder” vase etc.), which are carried out using two distinct tools and techniques: for some of them, Shao Yan writes the characters with a brush while he holds the vase steady with his free hand or he gets help from his assistants (\"Shou\" 寿，\"Hai\" 海, \"Qingshan si shi ru hua\" 青山四时如画, etc.). For other works, he uses a syringe to inject the ink on the vessels that are located on a rotating base. For the entire series, he wants to combine the structure of Chinese characters or the lines and marks formed by the ink jet with the shapes of pottery vases. "@en ; sch:image ; write:includesArtwork . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Landscape Painting PIC (观音+tags)" ; write:description """This Calli-Writing Unit is the first inscription in the center of the scroll. It is written in "big characters" (dazi 大字) and in regular script (kaishu 楷书). It is composed of two traditional Chinese characters, GuanYin 觀音, the Chinese name of the crew. As it is usual in Chinese calligraphic work, they are written vertically (from top to bottom).\r In the two big characters, the variation of the width of the strokes produced by a skillful use of the spray-painting is a contemporary expedient to create the illusion of being in front of a classical calligraphy written with the ink brush. Furthermore, if we look at the arrangement of this written section, we will notice that it also reproduces a traditional calligraphic pattern: the main text (the two big characters) is in the center of the work, occupying a commanding position, while the inscriptions with the name of the artists are written on the sides in smaller size (even if horizontally and in alphabetic letters).\r Below the two characters, we can see the tags representing all the members of the crew: Quan, EricTin, Yumi, Apart, Jer, Nato, and Scar on the left; Joey, Keno, Pluto, Viga, Ctn, and Kwanyin on the right. Unlike the two characters "Guan Yin", these tags are written horizontally from left to right in the Latin alphabet, reflecting the Euro-American graffiti tradition. This hybridization of ‘lettering’ and ‘charactering’ is a recurring theme in Kwanyin Clan’s work. It exemplifies the creative fusion of intermixed elements that are both Chinese (vertical Chinese characters) and Western (horizontal Latin script), both traditional (calligraphy) and modern (graffiti tags)."""@en ; write:directionality "Traditional" ; write:hasBackgroundColour , ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf , , , ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:relatedUnit ; write:transcriptionAndTranslation "Avalokiteśvara"@en, "觀音"@zh, "观音"@zh, "Guānyīn"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , , , ; wdt:P186 , , ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU Zhang Qiang's Traceology Report A/C 3 Model - Cicada Wings (lines)" ; write:description "This CWU is part of the performance \"Zhang Qiang's Traceology Report A/C3 Model - Cicada Wings (张强踪迹学报告 A/C3 模型 - 蝉翼缥举)\" and it consists of several calligraphic traces drawn by Zhang Qiang on the models' bodies and silk clothes realized by himself."@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; sch:image ; write:isUnitOf , ; write:madeUsingTool . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Shao Yan Blue and White Porcelain - Bird Seal Script Series (邵岩蓝百瓷器 - 鸟篆系列)"@en, "邵岩蓝百瓷器 - 鸟篆系列"@zh, "Shào Yán lán bǎi cíqì - Niǎo zhuàn xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "2015"^^xsd:gYear ; sch:thumbnailUrl ; write:description """This series was executed in 2015 by Shao Yan and was exhibited the same year (May 15 – June 7) at the "Calligraphy and Ceramics Art Exhibition" (Shufa taoci yishu zhan 书法陶瓷艺术展) opened in Suzhou at the Ming Art Museum (Ming meishuguan 明·美术馆). The exhibition, called “Between Squares and Circles” (fangyuan zhejian 方圆之间), featured 60 pieces of calligraphy works carried out by three outstanding young and middle-aged calligraphers in contemporary China: Shao Yan, Li Qiang 李强 and Xu Guixun 徐圭逊. \r The works present forms and styles similar to circles and squares. Shao Yan engraved characters on the surface of the vessel and then filled in the blue color. The characters recall the "bird seal script" (niao zhuan 鸟篆), a kind of artistic script in common use during the late Warring States period (475-221 BC). This script is characterized by gently and intricated curved lines decorated with bird designs. In these works, Shao Yan re-elaborates this script in a naïf style.\r In this exhibition, six vases of this series are displayed: three "maotong"(帽筒) vases in ceramics entitled “Spring and Autumn” (春华秋实) and “Good as Water” (Shangshanruoshui 上善若水); two little quivers of arrows called “To do Good without Fame or Fortune” (Qi yinguo bao fang xingshan, bu wei mingli yi dushu 豈因果报方行善，不为名利亦读书); a jade pot spring vase called “Namo Amithaba Buddha” (Namo Emituofo 南无阿弥陀佛) and a water-washed porcelain bowl called “Harmony in the Family” (Jia he wanshi xing 家和万事兴)."""@en ; sch:image ; write:includesArtwork . a write:CalliWritingUnit ; wdt:P180 , , , , , , ; wdt:P186 , ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU Free Cloud Calligraphy (lines)" ; write:description "This CWU is part of the performance \"Free Cloud Calligraphy (云自在书)\". It is composed by the traces of ink leaved by Zhang Qiang on the paper, while the female counterpart Ding Feifei moves the paper over Zhang Qiang's head, as if to simulate the movement of clouds in the sky. "@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; sch:image ; write:isUnitOf , ; write:madeUsingTool . a wd:Q7725310 ; wdt:P1071 , , , ; wdt:P1476 "Plaster Geometry Series (石膏几何体系列)"@en, "石膏几何体系列"@zh, "Shígāo jǐhétǐ xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "1998"^^xsd:gYear ; wdt:P582 "2018"^^xsd:gYear ; write:description "This series is made by Zhang Qiang from 1998 to 2018. Zhang Qiang, together with his female counterparts, creates some geometric shapes of plaster on which he leaves \"traces\" of ink. Later, he uses these geometric shapes to create installations (both indoors and outdoors). Some of these installations have also been created outside Cina, such as in Paris in 2007 or in front of the Pyramids of Giza in 2008. One of Zhang Qiang's latest installations took place in London in 2018, where he collaborated with the artist Zhang Kaini 张凯尼. In this occasion, some geometric plaster shapes were exhibited in front of St. Paul's Cathedral in London."@en ; write:includesArtwork . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Confucianism, Daoism, Buddhism, Shintoism, Zen Buddhism Series (儒、道教、佛教、神道教、禅宗的系列)"@en, "儒、道教、佛教、神道教、禅宗的系列"@zh, "Rú, dàojiào, fójiào, shén dàojiào, chánzōng de xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "2017"^^xsd:gYear ; write:description """In this series, Qiu Zhijie carries out a conceptual work: he creates an archive of images representing some esoteric symbols and scriptures of various philosophical and religious influences. The prints are all of the same format (60X60 cm). The texts are copies of important documents, philosophical and religious writings also made in the Latin alphabet (Old Germanic, Medieval English, Aramaic, etc.). \r Qiu Zhijie collected and classified many different forms of writing, both public and personal. For each form of scripture, he carved a layer of concrete. After the plate is dry the inscriptions were printed on paper by rubbing with ink, and a new layer of concrete was poured, upon which a new set of characters was then inscribed. Each new layer obliterated the previous one, burying the marks forever and replacing them with a new form of scripture; the only witness that remains is the single print, done with the traditional rubbing process that entails placing a sheet of paper on top of the stele. """ ; write:includesArtwork . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Zhang Qingzhi 张青枝" ; wdt:P27 ; wdt:P453 ; wdt:P569 "1990"^^xsd:gYear ; wdt:P812 , ; wdt:P937 ; write:hasCalligraphicTraining "Academic"@en ; write:isDesignerOf . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , , , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Writing the Orchid Pavilion Preface One Time (《兰亭序》)" ; write:description "This CWU is part of the performance \"Writing the Orchid Pavilion Preface One Time (书写兰亭序一遍)\". It consists of the characters realized by Wu Xixia with a brush dipped in black ink in an airtight inflatable sphere. These characters are part of the “Orchid Pavilion Preface” (Lanting Xu 兰亭序) composed by Wang Xizhi 王羲之 (303–361) in 353. During the writing process, the different forms of the twenty zhi 之 characters present in the poem, were replaced with visible red ink male phalluses. "@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 324 ; write:transcriptionAndTranslation """It is the ninth year of Emperor Mu of Jin's Yonghe era\r The year of the Yin Water Ox,\r At the beginning of the third lunar month,\r We are all gathered at the orchid pavilion in Shanyin County, Guiji Commandery,\r For the Spring Purification Festival.\r All of the prominent people have arrived,\r From old to young.\r This is an area of high mountains and lofty peaks,\r With an exuberant growth of trees and bamboos,\r It also has clear rushing water,\r Reflecting the sunlight as it flows past either side of the pavilion.\r The guests are seated side by side to play the drinking game where a wine cup is floated down the stream and the first person sitting in front of the cup when it stops must drink.\r Although we lack the boisterousness of a live orchestra,\r With a cup of wine here and a reciting of poetry there, it is sufficient to allow for a pleasant exchange of cordial conversations.\r Today, the sky is bright and the air is clear,\r With a gentle breeze that is blowing freely. When looking up, one can see the vastness of the heavens,\r And when looking down, one can observe the abundance of things. The contentment of allowing one’s eyes to wander,\r Is enough to reach the heights of delight for the sight and sound. What a joy.\r Now all people live in this world together,\r Some will take all of their aspirations, and share them in private with a friend;\r Still others will abandon themselves to reckless pursuits.\r Even though everyone makes different choices in life, some thoughtful and some rash,\r When a person meets with joy, he will temporarily be pleased,\r And will feel content, but he is not mindful that old age will soon overtake him.\r Wait until that person becomes weary, or has a change of heart about something,\r And will thus be filled with regrets.\r The happiness of the past, in the blink of an eye,\r Will have already become a distant memory, and this cannot but cause one to sigh;\r In any case, the length of a man’s life is determined by the Creator, and we will all turn to dust in the end.\r The ancients have said, "Birth and Death are both momentous occasions."\r Isn’t that sad!\r Every time I consider the reasons for why the people of old had regrets,\r I am always moved to sadness by their writings,\r And I can not explain why I am saddened.\r I most certainly know that it is false and absurd to treat life and death as one and the same,\r And it is equally absurd to think of dying at an old age as being the same as dying at a young age.\r When future generations look back to my time, it will probably be similar to how I now think of the past.\r What a shame! Therefore, when I list out the people that were here,\r And record their musings, even though times and circumstances will change,\r As for the things that we regret, they are the same.\r For the people who read this in future generations, perhaps you will likewise be moved by these words."""@en, """永和九年，\r 岁在癸丑，\r 暮春之初，\r 会于会稽山阴之兰亭，\r 修禊事也。\r 群贤毕至，\r 少长咸集。\r 此地有崇山峻领，\r 茂林修竹，\r 又有清流激湍，\r 映带左右。\r 引以为流觞曲水，列坐其次；\r 虽无丝竹管弦之盛，\r 一觞一咏，亦足以畅叙幽情。\r 是日也，天朗气清，\r 惠风和畅，仰观宇宙之大，\r 俯察品类之盛，所以游目骋怀，\r 足以极视听之娱，信可乐也。\r 夫人之相与俯仰一世，\r 或取诸怀抱，晤言一室之内；\r 或因寄所托，放浪形骸之外。\r 虽趣舍万殊，静躁不同，\r 当其欣于所遇，暂得于己，\r 快然自足，不知老之将至。\r 及其所之既倦，情随事迁，\r 感慨系之矣。\r 向之所欣，俛仰之间，\r 已为陈迹，犹不能不以之兴怀；\r 况修短随化，终期于尽。\r 古人云﹕「死生亦大矣。」\r 岂不痛哉！\r 每揽昔人兴感之由，\r 若合一契，未尝不临文嗟悼，\r 不能喻之于怀。\r 固知一死生为虚诞，\r 齐彭殇为妄作。\r 后之视今，亦由今之视昔。\r 悲夫！故列叙时人，\r 录其所述，虽世殊事异，\r 所以兴怀，其致一也。\r 后之揽者，亦将有感于斯文。"""@zh, """永和九年，\r 歲在癸丑，\r 暮春之初，\r 會于會稽山陰之蘭亭，\r 脩禊事也。\r 群賢畢至，\r 少長咸集。\r 此地有崇山峻領，\r 茂林修竹，\r 又有清流激湍，\r 映帶左右。\r 引以為流觴曲水，列坐其次；\r 雖無絲竹管弦之盛，\r 一觴一詠，亦足以暢敘幽情。\r 是日也，天朗氣清，\r 惠風和暢，仰觀宇宙之大，\r 俯察品類之盛，所以遊目騁懷，\r 足以極視聽之娛，信可樂也。\r 夫人之相與俯仰一世，\r 或取諸懷抱，晤言一室之內；\r 或因寄所托，放浪形骸之外。\r 雖趣舍萬殊，靜躁不同，\r 當其欣于所遇，暫得于己，\r 快然自足，不知老之將至。\r 及其所之既倦，情隨事遷，\r 感慨係之矣。\r 向之所欣，俛仰之間，\r 已為陳迹，猶不能不以之興懷；\r 况修短隨化，終期于盡。\r 古人云﹕「死生亦大矣。」\r 豈不痛哉！\r 每攬昔人興感之由，\r 若合一契，未嘗不臨文嗟悼，\r 不能喻之于懷。\r 固知一死生為虛誕，\r 齊彭殤為妄作。\r 後之視今，亦由今之視昔。\r 悲夫！故列敘時人，\r 錄其所述，雖世殊事異，\r 所以興懷，其致一也。\r 後之攬者，亦將有感於斯文。"""@zh, """Yǒnghé jiǔ nián,\r suì zài guǐ chǒu,\r mùchūn zhī chū, \r huì yú guì jīshān yīn zhī lántíng, \r xiū xì shì yě. \r Qún xián bì zhì, \r shǎo zhǎng xián jí. \r Cǐdì yǒu chóng shān jùn lǐng,\r mào línxiūzhú,\r yòu yǒu qīngliú jī tuān,\r yìng dài zuǒyòu. \r Yǐn yǐ wéi liúshāng qū shuǐ, liè zuò qícì; \r suī wú sīzhú guǎnxián zhī shèng,\r yī shāng yī yǒng, yì zúyǐ chàngxù yōuqíng. \r Shì rì yě, tiān lǎng qì qīng,\r huìfēng hé chàng, yǎng guān yǔzhòu zhī dà, \r fǔchá pǐnlèi zhī shèng, suǒyǐ yóu mù chěng huái,\r zúyǐ jí shìtīng zhī yú, xìn kělè yě. \r Fūrén zhī xiāng yǔ fǔyǎng yīshì, \r huò qǔ zhū huáibào, wù yán yī shì zhī nèi;\r huò yīn jì suǒ tuō, fànglàngxínghái zhī wài. \r Suī qù shě wàn shū, jìng zào bùtóng, \r dāng qí xīn yú suǒ yù, zàn dé yú jǐ, \r kuài rán zìzú, bùzhī lǎo zhī jiàng zhì. \r Jí qí suǒ zhī jì juàn, qíng suí shì qiān, \r gǎnkǎixìzhī yǐ. \r Xiàng zhī suǒ xīn, fǔ yǎng zhī jiān, \r yǐ wèi chénjì, yóu bùnéng bù yǐ zhī xìng huái; \r kuàng xiū duǎn suí huà, zhōng qī yú jìn. \r Gǔrén yún﹕`sǐshēng yì dà yǐ.'\r Qǐ bù tòng zāi! \r Měi lǎn xī rén xìng gǎn zhī yóu, \r ruò hé yī qì, wèicháng bù lín wén jiē dào, \r bùnéng yù zhī yú huái. \r Gù zhī yī sǐshēng wèi xū dàn,\r qí péng shāng wèi wàng zuò. \r Hòu zhī shì jīn, yì yóu jīn zhī shì xī.\r Bēi fū! Gù liè xù shí rén, \r lù qí suǒ shù, suī shì shū shì yì,\r suǒyǐ xìng huái, qí zhì yī yě. \r Hòu zhī lǎn zhě, yì jiāng yǒu gǎn yú sīwén."""@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 , ; wdt:P282 ; wdt:P462 , ; wdt:P9302 ; write:attributedTitle "CWU Confrontation (人、艺术)" ; write:description """This CWU is part of the performance "Confrontation (对峙)". It consists of the two white characters "human" (ren 人) and "art" (yishu 艺术) that Wu Xixia writes with the brush on the red mannequin. There are also other several traces of white and red ink the artist Wu Xixia leaves "stabbing" the mannequin with the brush. \r """@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 3 ; write:transcriptionAndTranslation """Human\r Art"""@en, """人\r 艺术"""@zh, """人\r 藝術"""@zh, """Rén\r Yìshù"""@zh-Latn . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Light Writing Calligraphy Series (光写书法系列)"@en, "光写书法系列"@zh, "Guāng xiě shūfǎ xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "2005"^^xsd:gYear ; wdt:P582 "2010"^^xsd:gYear ; write:description """This series expressed the artist’s will to re-imagine calligraphic practice through the exploration of different media, here precisely a well-know photographic and performative technique and different contexts. By using the light painting process, Qiu Zhijie maintains the performative elements of the calligraphy practice (the gesture, the immediacy and the text) while expanding the artwork to the new media field. By choosing photography he incorporates a different temporality into the work, introducing a site-specific element (the choice of the location in the public space, which is no more the studio and the night time, which is necessary for light painting) and co-opting a process where light substitutes ink and brush. The timing of the natural gesture of writing is recorded and fixed by and extra-long exposure time of the camera. The final result is a work that, while remaining clearly attached to the idea of calligraphy, can be reproduced in a set and includes a number of different definitions: it is a calligraphic piece, it is a new media piece and it is somehow also a public space intervention, which reminds tags and graffiti although in a fully ephemeral way. The image created can then be distributed through a traditional exhibition, as a photograph, but also as a post in social media, diversifying the virality and accessibility and the way in which the artwork is meant to be presented. The kind of audiences who can access the work is also differentiated compared to the experience of a traditional ink on paper calligraphy piece. The technique of light painting is not new but, due to the increasing quality and reduced size of digital cameras and devices, it has become an intelligent, relatively simple tactical medium to create text-based artworks incorporating public space differently. The light painting techniques most probably used for this artwork are the following two: \r 1) Light painting with on camera light source\r This technique is achieved using a tripod. You keep your camera in a fixed position, then move your lighting source so it can be seen on camera. By shooting a long exposure, you will see the effects of the light source moving. You can use sparklers, a torch or glow sticks which can be bought quite cheaply. On the more expensive end of the spectrum is specialist light painting LED light sticks. This "on camera" light painting technique will create a smoother image than the Kinetic technique. Swirling, spiralling lines of light being favourites. It also allows you to introduce other elements into your images, such as people or buildings. \r 2) Light painting with the light source off camera As above, this technique uses a tripod. However, rather than showing the light source directly by showing it’s movements, this technique is all about showing the light created but not the source.This is less about lines of light and more about lighting up areas of an otherwise dark scene.To achieve this effect, you would project light into the scene you are photographing – but you would not directly see the source of the light in the image, only the light it produces. Weaving light in and out of trees for instance.\r Qiu Zhijie decides to use both Chinese characters and Latin letters to realized the series, then photographing the results, such as in:\r 1) "Light Writing Calligraphy - The Shape of Time" (Guang xie shufa - Shijian de xingzhuang 光写书法 - 时间的形状) realized in 2006. In these two photographs, Qiu Zhijie writes the sentence "The Shape of Time" both in Chinese characters and Latin letters;\r 2) "Light Writing Calligraphy - 94 go over" (Guang xie shufa - 94 ge guo qu 94个过去) realized in 2006. In these ten photographs, Qiu Zhijie writes the two characters "guo qu 过去" (Go Over). The artist takes the photographs in a sort of very dark garage, placing a row of clocks that indicate the passing of time;\r 3) "Light Writing Calligraphy - All Times when Old are Good" (Guang xie shufa - Yiqie shiqu de dou shi meihao de 光写书法 一切逝去的都是美好的) realized in 2009. In this photograph Qiu Zhijie writes with Latin letters the sentence "All Times when Old are Good";\r 4) "Light Writing Calligraphy - The Twenty-four Poems on Poetry" (Guang xie shu fa - 24 shi pin 光写书法 - 24诗品) realized in 2010, composed by the three photography entitled "Chenzhuo 沉着" (Calm), "Jingshen 精神" (Vigorous) and "Jingjian 劲健 (Strong and Energetic). In these photographs Qiu Zhijie writes the three Chinese characters "Chenzhuo 沉着" (Calm), "Jingshen 精神" (Vigorous) and "Jingjian 劲健 (Strong and Energetic), recalling three poems of the literary work "Twenty-four Poems on Poetry" (Ershisi shipin 二十四诗品) by Sikong Tu 司空图 (837-908), a poet of Tang Dynasty (618-907). Sikong Tu's teaches that poets must perfect themselves internally in order to achieve perfection in what they write.\r 5) "Light Writing Calligraphy - Untersberg Mountain Series" (Guang xie shufa - Weng de si bo ge shan xilie 光写书法 - 翁德斯伯格山系列) realized in 2007. The Untersberg is the northernmost massif of the Berchtesgaden Alps, a prominent spur straddling the border between Berchtesgaden, Germany and Salzburg, Austria. The series is composed by the twelve photography entitled "Anshi 暗示" (Hint), "Daolu 道路" (Way), "Huiyi 回忆" (Memory), "Jiqing 激情" (Passion), "Kaipi 开辟" (Opening), "Mima 密码" (Cipher), "Shuji 书籍" (Book/Work), "Tanbai 坦白" (Confession), "Tianci 天赐" (Bestowed by Heaven), "Yizhi 意志" (Will), "Yugan 预感" (Premonition) and "Zhenxiang 真相" (Truth).\r 6) "Light Writing Calligraphy - Changed" (Guang xie shufa - Bianle 光写书法 - 变了) realized in 2006 composed by the five photography entitled: "Bianle - Beijing Lugouqiao 变了- 北京卢沟桥" (Changed - Beijing Marco Polo Bridge); Bianle - Yan'an baota shan 变了- 延安宝塔山 (Changed - Yan'an Pagoda Mountain); "Bianle - Yushu Gesaer Wang 变了-玉树格萨尔王" (Changed - Yushu King Gesaer); "Bianle-Aomen 变了- 澳门" (Changed - Macau) and "Bianle - Beijing gongyuan dadao 变了-北京公园大道" (Changed - Beijing Park Avenue). \r 7) "Light Writing Calligraphy: Commemorating Anderson Series" (光写书法：纪念安徒生系列 Guang xie shufa: Jinian Antusheng xilie) realized in 2006 in memory of the Danish writer and poet Hans Christian Anders (1805 - 1875). These series is composed of nine photography entitled: "Commemorating Anderson - I Have Seen Tears in the Emperors Eyes" (Jinian Antusheng - Wo zai huang shang de yanlei li kan dao le yanlei 纪念安徒生 - 我在皇上的眼泪里看到了眼泪), "Commemorating Anderson - I Love Your Heart More than Your Crown" (Jinian Antusheng: Wo ai nin de xinling shengguo nin de huangguan 纪念安徒生 - 我爱您的心灵胜过您的皇冠), "Commemorating Anderson - My Song Sounds Best in the Green Wood" (Jinian Antusheng - Wo de gesheng zai shulin li ting qilai zui mei 纪念安徒生 - 我的歌声在树林里听起来最美), "Commemorating Anderson - Even in a Emperor the Heart is on the left side" (Jinian Antusheng - Jiusuan shige huang shang ta de xinzang ye shi zai zuobian de 纪念安徒生 - 就算是个皇上他的心脏也是在左边的), "Commemorating Anderson - I Can not Built my Nest in the Palace" (Jinian Antusheng: Wo bu neng ba wo de chao jian zai gongdian li 纪念安徒生 - 我不能把我的巢建在宫殿里), "Commemorating Anderson - The Storm Shift the Signs" (Jinian Antusheng - Fengbao ba zhaopai huanle 纪念安徒生 - 风暴把招牌换了), "Commemorating Anderson - Who Was the Luckiest" (Jinian Antusheng - Shei shi zui xingyun de ren 纪念安徒生- 谁是最幸运的人), "Commemorating Anderson - Under the Willow Tree" (Jinian Antusheng - Liushu xia de meng 纪念安徒生 - 柳树下的梦), "Commemorating Anderson - Something" (Jinian Antusheng 纪念安徒生 - 一点成绩);\r 8) "Light Writing Calligraphy - Twenty-Four Seasons" (Guang shufa - 24 jieqi 光书法 - 24 节气). In Chinese the twenty-four markers of the seasons are known as jieqi 节气 . The traditional Chinese calendar is a lunisolar one. Although the twenty-four seasonal markers are based on the solar calendar, the months are lunar months. Translated into the standard astronomical convention of ecliptic longitude, chunfen 春分(the Spring Equinox) is positioned at zero degrees, and the next marker qingming 清明 (the Clear and Bright) at fifteen degrees. Thus, the subsequent jieqi 节气 are separated by the sun's entry into a sign of the tropical zodiac (fifteen degrees). This system is almost identical with the Gregorian calendar. For example, dongzhi 冬至 (the Winter Solstice) always falls around the 22th of December. This calendar was first utilized four thousand years ago during the Xia dynasty (ca. 2205 B.C. C 1766 B.C.), so it is also called the Xia calendar (xiali 夏历). Starting from the summer of 2005, on the day of each jieqi 节气 , Qiu Zhijie writes the names of the twenty-four terms at different locations. The arrangement and content of this series of twenty-four photographs are pre-determined by the sequence of the twenty-four seasonal markers and the location changes according to his presence. \r 9) "Light Writing Calligraphy - 'Heart Sutra' Series" (Guang xie shufa: “Xinjing” xilie) composed of fifty-five photographs with sentences and words extracted from the famous Buddhist text;\r 10) "Light Writing Calligraphy - Fable" (Guang xie shufa - Yuyan 光写书法 - 寓言), realized in 2005. It consists of three different photography in which Qiu Zhijie writes the word "yuyan 寓言" in different places;\r 11) "Lighwriting Calligraphy - Forever Night" (Guang xie shufa - Ye weiyang 光写书法 - 夜未央) realized in 2005. It consists of two photographs in which Qiu Zhijie writes the three characters "ye weiyang 夜未央" in different places.\r 12) "Light Writing Calligraphy - Deep in the Reality" (Xianshi shen chu 光写书法 - 现实深处) realized in 2005. It consists of four photographs in which Qiu Zhijie writes the four characters "Xianshi shen chu 现实深处" (Deep in the Reality) in different places. \r 13) "Light Writing Calligraphy - Where" (Guang xie shufa - Where 光写书法 - Where) realized in 2005. In these thirty- five photographs, Qiu Zhijie writes in Latin letters some words and sentence like "Past", "Future", "Listen to Me", Dream", "Be Careful", "I am Fine", "Let it be", "Home", etc.\r 14) "Light Writing Calligraphy - Dartington" (Guang xie shufa - Da ting dun 光写书法 - 达汀顿) realized in 2005. It consists of three photographs entitled "Shici 诗词" (Poem), "Gui qu 归去" (Back Home) and "Zhiwu 植物 (Plant)" in which Qiu Zhijie writes the three words and sentences in different places. """@en ; write:includesArtwork . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Wei State of Myriad Beings (魏州万生园)"@en, "魏州万生园"@zh, "Wèi zhōu wàn shēng yuán"@zh-Latn ; wdt:P170 ; wdt:P180 , , ; wdt:P186 , , ; wdt:P2048 "97 cm" ; wdt:P2049 "121 cm" ; wdt:P462 , , ; wdt:P571 "2016"^^xsd:gYear ; wdt:P941 ; sch:thumbnailUrl ; write:description """In this work Wei Ligang combines figurative elements and Chinese characters using a mixed technique acrylic and ink on a typical light brown xuan paper with rough texture which underlines the paper’s fibers. The classical references to the concept of “myriad of beings” within the historical frame of the warring states is here re-interpreted and re-imagined in a free floating composition. \r The concept of “myriad things” 萬物 (wanwu), which later gains paradigmatic importance in Chinese philosophy, was first introduced in the Laozi and developed in the Zhuangzi. Under the collective heading of “myriad”, “myriad things” encompasses all of the variegated existing entities in the empirical world, while also taking into account the individual particularities of each entity without calling forth any singular or set of qualities, or “essence”, that is shared by all individuals. As a concept that safeguards individual particularities, the use of “myriad things” in the Zhuangzi serves to counterargue against the essentialist tendency to treat “humans 人 (ren)” as a collective of moral agents with a singular and identifiable moral essence. \r The figurative elements and characters carry out a clear calligraphic brushwork touch, which is rendered in a hybrid informal aesthetic register. It can evocate both various styles of illustration, (even comics) and pop culture while maintaining its classical references. The free composition, the color palette and the acrylic/ink technique are the basis elements which help the transition from a traditional to a contemporary language. Particularly the use of acrylic medium in association with ink defines Wei Ligang’s attempt to bridge the gap between strict traditional calligraphy’s rules and modern and post-modernist approach. Acrylic per se allows corrections, retouches and a different time-span of ri-elaboration of the work, while ink confront the artist with its unavoidable immanence and the impossibility to erase or change the marks once they are traced. Perhaps we can say that ink functions at the crossroad between the ‘carpe diem’ of the moment and the event, but it can also record every mark as a trace of each single gesture, as an accurate memory and documentation of what happens from the beginning to the end. On the other side, with acrylic (and also oil) the final work can be planned, changed and re-worked until the final result and it would not be possible (unless using x-rays and complex technologies) to see all the changes and phases. With ink any unwilling gesture should be adapted on the moment, which means one needs to rely on an excellent mastering of his own technique and on the capacity to improvise and adjust in real time whenever a mark does not come out as expected. With acrylic the mindset is different as it is possible to erase or cover a section and start again. The size of the work is also more typical of a modern or contemporary piece while not being totally strange to certain formats of traditional Chinese landscape painting. \r Displaying the influences of both Western abstraction and the Chinese calligraphic tradition, Wei uses the impulsive gestures of expressionism (in ink that ranges in density from solid black to pale gray) but his characters remain rooted in the square structures that form the basis of calligraphy. Wei trained as a mathematician, and many of his works are based on “Wei Squares,” a formula drawn from the square framework printed on the practice paper used by students of calligraphy."""@en ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Shadow of a Qingdao Pine Tree (青岛的松影)"@en, "青岛的松影"@zh, "Qīngdǎo de sōngyǐng"@zh-Latn ; wdt:P170 ; wdt:P180 , , , ; wdt:P186 , , ; wdt:P2048 "283.5 cm" ; wdt:P2049 "145.5 cm" ; wdt:P462 , ; wdt:P571 "2010"^^xsd:gYear ; sch:thumbnailUrl ; write:description "In this work, Wei Ligang creates an apparently simple image that in fact incorporates a variety of elements: from American abstract expressionism, and the lyrical abstraction and informal art of movements like Tachism ( like Cobra and Gutai). We can detect the “clins d’oeil” at artists such as Jiro Yoshihara, R. Motherwell, F.Kline, A.Tapies. In this work, ink strokes recall a deconstructed interpretation of the character “pine tree” (songying 松影) exemplifying an attitude detached from a strict technical execution and rather developing in a more loose, natural and expressionist way. Another important reference here is that of the “few characters” Japanese calligraphic movement, whose influence has been that of progressively reducing the number of characters in a painting until reaching the format of one single character occupying the space. The mixing of acrylic and ink on a traditional vertical format with a classical poetic-evocative title is a typical example of Wei Ligang’s methodology to create a new form of calligraphy which exists in an intermediate zone of formal and conceptual tension between the past and the present. To compare this approach to an existing western theoretical frame, we could say that it belongs to the realm of post-modernism, according to which the parameters of pure stylistic expression and hierarchic coherence between the choice of materials, techniques and outcome (typical of the modernist approach) are deliberately abandoned in favor of a more unusual mix of elements that dismantles those same notions of purity and coherence. This creates a further interesting level of ambiguity and complexity ,as we can say that, if Wei Ligang’s works visually seem to reproduce the aesthetic of modernist abstract art, the conceptual root behind his process is much more similar to the post-modern one. "@en ; write:hasVisualArtworkType , , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Quotations from Ouyang Xiu in Mad Cursive B (欧阳修辞抄狂草B)"@en, "欧阳修辞抄狂草B"@zh, "Ōuyáng xiū cí chāo kuángcǎo B"@zh-Latn ; wdt:P170 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P2048 "551.5 cm" ; wdt:P2049 "215 cm" ; wdt:P462 , ; wdt:P571 "2016"^^xsd:gYear ; wdt:P941 ; sch:thumbnailUrl ; write:description """In this large vertical scroll, Wei Ligang remains close to tradition by choosing both a classical reference and a traditional technique and support: ink on xuan paper. The work recombines fragments of poetry by Ouyang Xiu (1007–1072) and other writers of exceptional literary beauty, transforming them into a dream-like sequence of vivid images and sensory experiences. Wei writes in “mad cursive” (cao shu 草書) script, conjoining several characters in each passage, a choice that reads as a clear homage to Ouyang Xiu, one of the Eight Great Masters of the Tang and Song dynasties.\r Ouyang Xiu was a pivotal figure of the Song dynasty—an outstanding intellectual, statesman, magistrate, calligrapher, poet, and novelist—whose life and achievements remain among the most celebrated in Chinese cultural history. The calligraphic resonance invoked here may be linked to the period of his exile in Anhui province, when, living in the countryside, he called himself "Zuiweng 醉翁" (the Old Drunkard), built a pavilion of that name, and authored the celebrated essay associated with it. This moment, imbued with Daoist ideals and the celebration of wine and friendship, has long been connected to the wild cursive calligraphic tradition, a lineage into which Wei Ligang consciously situates his work.\r Across five vertical sequences, Wei Ligang allows spontaneous yet deeply learned gestures to flow, deconstructing characters into pure lyrical rhythm and juxtaposing them through subtle tonal modulations achieved by masterful ink dilution and sensitive control of movement. The brushwork varies rhythmically between outward expansion and knotted compression in response to the complexity of the forms.\r While the piece clearly evokes the spontaneity of the wild-grass style, it also reveals a deliberate precision and an acute awareness of stroke variety: bold, clean marks alternate with overlapping, delicate passages, displaying an eloquent mastery of tone. Through this work, Wei Ligang establishes a dialogue with the literati tradition, positioning himself as a virtuoso who both demonstrates and questions his calligraphic knowledge. Even in the absence of definitive proof, works such as this may be understood as attempts to transform and interrogate calligraphic practice by simultaneously subverting and celebrating its classical elements, walking a fine line between heresy and orthodoxy, lightness and depth.\r Finally, the large scale of the scroll may be read as a compromise between traditional Eastern formats and Western artistic sensibilities, recalling both monumental calligraphic scrolls and carvings, as well as the gestural expansiveness of Western Abstract Expressionism."""@en ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Ten Thousand Birds Startled by the Dawn Drums (万点城鸟惊曙鼓) "@en, "万点城鸟惊曙鼓"@zh, "Wàn diǎn chéng niǎo jīng shǔ gǔ"@zh-Latn ; wdt:P170 ; wdt:P180 , , , ; wdt:P186 , , ; wdt:P2048 "120 cm" ; wdt:P2049 "120 cm" ; wdt:P462 , ; wdt:P571 "2011"^^xsd:gYear ; wdt:P941 ; sch:thumbnailUrl ; write:description """In this work Wei Ligang, at least in part, moves away from any calligraphic register recognizable at first sight, to explore a different kind of composition which looks as if it was informed both by the modernist geometrical abstraction and also by some other figurative imagery and primitive decorative motives. In reality, this operation is part of nearly thirty years of artistic exploration, during which Wei Ligang has been creating a universal abstract language based on the lines and spatial structures of Chinese characters. This language attempts to accommodate the complexity of a variety of western and eastern elements. In his so-called "Wei's Magic Block" he deconstructs Chinese characters and incorporates image elements, tracing back to the origin of pictographs. The choice of the large round canvas and the mixed media technique (ink and acrylic) establishes another parallel between the eastern tradition (in which the round support is a classic choice but mainly on paper and silk) and the work of several western lyrical and geometrical abstract artists. The choice of another eastern classical element, the palette, black on golden-brown, together with the homogeneous thickness of the line contribute to highlight the hybridity of this work, which is then further re-elaborate with reversed colors on xuan paper mounted in the form of a large screen (as in the work "Fluttering Butterflies and Buzzing Bees, a Pleasure Boat and Orchids at Dawn", Die luan feng xuan lan xiao hua ge 蝶乱蜂喧 兰晓画舸, 2016).\r This continuous formal re-elaboration of the Chinese calligraphic tradition comes forward as the trade mark of Wei LiGang’s artistic research. As further references to formal and compositional solutions, they can be found in some specific works by Picasso (1881-1973): the series of drawings executed with a continuous, uninterrupted line in a single gesture and the consequent series of drawings with light, in which, precisely to bear witness to this type of apparently spontaneous technique, but in reality possible only thanks to a particular experience of manner, the Albanian photographer Gjon Mili (1904-1984) invents a photographic procedure with very long exposure times and synchronization of flash and dim light, which allows Picasso to exhibit "drawing in the air" recording the final gestures and figures as lines of light. We could also find a visual reference for the shapes and the character of the Nazca Lines, a collection of giant geoglyphs—designs or motifs etched into the ground—located in the Peruvian coastal plain about 250 miles (400 kilometers) south of Lima, Peru. There are three basic types of Nazca Lines: straight lines, geometric designs and pictorial representations. The Nazca are large environmental artworks only visible from the sky, despite the obvious differences in terms of context, size and technicality. """@en ; write:hasVisualArtworkType , , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Scattered Needle Script, Looking through the Window (偶然针直散字 - 窗外望)"@en, "偶然针直散字- 窗外望"@zh, "Ǒurán zhēn zhí sàn zì - Chuāng wài wàng"@zh-Latn ; wdt:P170 ; wdt:P180 , ; wdt:P186 , ; wdt:P2048 "122 cm"@en ; wdt:P2049 "30.5 cm"@en ; wdt:P462 , ; wdt:P571 "1997"^^xsd:gYear ; wdt:P941 ; write:description "Fung Ming Chip created this artwork starting from the poem “Looking through the Window” (Chuang wai wang 窗外望). He didn’t write the entire characters of the poem but only some strokes/lines of the characters, so that the characters are no longer recognizable and the text is unreadable. He wrote these strokes in columns from right to left as in traditional calligraphy. He called this type of script \"scattered needle script\" (ou ran zhen 偶然针)."@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a wd:Q7725634 ; wdt:P1476 "Looking through the Window (窗外望)"@en, "窗外望"@zh, "Chuang wai wang"@zh-Latn ; wdt:P50 ; wdt:P571 "1997"^^xsd:gYear ; write:description "This poem, written by Fung Ming Chip, describes the scenery he sees through his studio window."@en ; write:transcriptionAndTranslation """An accidental cry\r Recall the infinite\r Green hills and blue waters\r Mixed in one\r Silence"""@en, """偶然的呼喊\r 勾起無限\r 青山綠水\r 混成一片的\r 靜默"""@zh, """Ǒurán de hūhǎn \r gōu qǐ wúxiàn \r qīngshān lǜ shuǐ \r hǔnchéng yīpiàn de\r jìngmò"""@zh-Latn . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Black on Black Script, Landscape B (大地 黑上黑字 )"@en, "大地 黑上黑字 "@zh, "Dàdì Hēi shàng hēi zì "@zh-Latn ; wdt:P170 ; wdt:P180 , , ; wdt:P186 , ; wdt:P2048 "48 cm"@en ; wdt:P2049 "53.5 cm"@en ; wdt:P462 , , ; wdt:P571 "2014"^^xsd:gYear ; write:description "In this artwork Fung Ming Chip made calligraphy by using diluted ink on a landscape background (specifically a background in which he represents a hill with some trees). The image shaped in the artwork is the representation of the text written in the calligraphy, entitled “Landscape B”. The poetic sentiments expressed in this poem are shaped with characters rendered nearly solid in form. Compositionally, the work suggests the fragility and sense of renewal implied by the poem. Fung Ming Chip called this type of script “Black on black Script”, because the black characters are written on a black background."@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a wd:Q17514 ; wdt:P1476 "DREAM! (做梦)"@en, "做梦"@zh, "Zuòmèng"@zh-Latn ; wdt:P170 ; wdt:P180 , , ; wdt:P186 , ; wdt:P2048 "1.5 m"@en ; wdt:P2049 "3 m"@en ; wdt:P2610 "5-7 mm"@en ; wdt:P276 , , ; wdt:P462 , ; wdt:P571 "2013"^^xsd:gYear ; wdt:P6375 "Beijing, Chaoyang, Dongba."@en ; wdt:P941 ; sch:thumbnailUrl ; write:description """This intervention with industrial tape (that remained there for a couple of months) is an ironic statement about the politic of the "China Dream" issued by the Xi Jinping administration. This work was made for the 2nd chapter of the autonomously organized event of the "Space Regeneration Project", curated by Tianjin-based curator Ren Han in 2013 in an abandoned foundation/museum in Dongba area, within Chaoyang District (between Caochangdi and Heiqiao) in Beijing. The place, a modernist building of around 1000 sq. metres was built in 2008, to become a museum and a foundation for the plastic and performative arts; it was never finished and it was left abandoned a couple of years later. The Space Recuperation Project aimed at re-vitalize for one or two days with ephemeral or permanent artistic actions and interventions some of these buildings, already embodying the huge contradiction of the Chinese Real Estate and Cultural policies. In line with the curatorial statement (which supported two days of informal actions in abandoned or demolished new buildings), this work is meant to witness and evocate the absurdity of gentrification, real estate and financial speculation when articulated by the speed of authoritarian hyper-capitalism. \r The artist uses red duct tape to write the two Chinese characters zuo meng 做梦 (Dream!) on a wall of an abandoned building. Duct tape is a very typical industrial material that can be found in any construction site and industrial environment; the choice of red is obviously linked to the Chinese tradition of writing with red ink (and even blood) to convey and something urgent and aggressive. The sentence is meant to be the Chinese equivalent of a command with the verb in the imperative mode (Dream!). Since the new slogan had changed from Hu Jingtao’s "Harmonious society" to Xi Jingping’s "Chinese Dream", this action was thought to send a provocative message about the contradiction between the continuity of the unresolved precarity between the government change. The duct tape calligraphic writing was applied in one day and then left there to gradually detach from the wall, while a photographic documentation of the process was collected. The work is an emblematic example of a tactical intervention: it has been done in unauthorized public space, using simple and conceptually accurate materials and conceived in two phases: a physical one to be executed quickly and gain visibility in the area; a digitally one, as viral documentation on the internet. Red duct tape in the form of writing possesses the directness and energy of the political dazibaos, but also in itself, recalls a powerful materiality, symbolically evocating industrial reality and construction sites, which is intercepted and re-appropriated in this work. In this case the ephemerality of the process is still evocating the philosophical concept of change and immanence, but within the clearly defined socio-political context of exposing the brutality, the destruction and the exploitation carried on by a super-fast, unethical form of development. The work remained on the wall for 3 days before the tape started to detach and it was removed after 5 days. """@en ; write:hasChengyu false ; write:hasChineseConcept , ; write:hasColophon false ; write:hasGraffitiGenre , ; write:hasGraffitiStyle , ; write:hasGraffitiType ; write:hasSeal false ; write:hasUnit ; sch:image . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P1412 , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Alessandro Rolandi" ; wdt:P27 ; wdt:P569 "1971-04-18"^^xsd:date ; wdt:P800 ; wdt:P812 , , ; wdt:P856 , , ; wdt:P937 , ; sch:thumbnailUrl ; write:description "Born in Pavia on 18th April 1971, living and working in Beijing from 2002 to 2020 and currently based in Bern (Switzerland). He studied Chemistry, History of Art, Experimental Theatre and Film-making. He is as a multimedia and performance artist, director, curator, researcher, writer and lecturer. His work focuses on social intervention and relational dynamics to expand the notion of art practice beyond existing structures, spaces and hierarchies and engage directly with reality in multiple ways. When he was living in Beijing, he started to practice calligraphy thanks to the acquaintance of his Chinese artist friends and he began to create experimental works inspired by Chinese calligraphy. He is the founder and director of the Social Sensibility R&D Department at Bernard Controls Industries in Beijing (2010-ongoing) and Paris/Gonesse (2016-ongoing) and a founding partner of the Social Sensibility Research Institute (SoSense). His work has been shown in solo, group shows, lectures and presentations all over the world."@en ; write:hasCalligraphicTraining "Self-Taught"@en ; sch:image . a write:CalliWritingUnit ; wdt:P180 , , , , ; wdt:P186 , , ; wdt:P462 , ; sch:thumbnailUrl ; write:attributedTitle "CWU Anatomy of Posidonia (lines)" ; write:description "This CWU is part of the performance \"Anatomy of Posidonia\" realized by Echo Morgan in occasion of the 3rd Edition of the \"Territori - Ibiza Performance Art Festival\" (17-25 September, 2022) which takes place in Ibiza, Spain. The CWU consists of traces and marks leaved by the artist's hair which are dipped in a compound made of chlorophyll powder mixed with seawater. With various body movements, accompanied by some verses and vocal sounds, the artist becomes a brush and leaves \"imprints\" and marks of her body's passage on the sheet."@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; sch:image ; write:isUnitOf , ; write:madeUsingTool , . a write:CalliWritingUnit ; wdt:P1480 ; wdt:P180 , , , , , , , , ; wdt:P186 , ; wdt:P282 , ; wdt:P407 ; wdt:P462 , , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Woman 女+ Horse 马 = Mother 妈 (自由、海、好、婆婆...)" ; write:description "This CWU is part of the performance \"Woman 女+ Horse 马 = Mother 妈\" realized by Echo Morgan, which took place in 2022 at the TJ Boulting of London during \"Love, Celebration and the Road Ahead\", a three-day festival (September, 29 - October, 1st ) to mark the launch of Hettie Judah's book entitled \"How Not To Exclude Artist Mothers (and other parents)\". The character \"ma 妈\" is written in blue/green ink, as well as her clothes are drenched in the same ink. The artist then wraps white lanterns with various writings around her body, combining Chinese characters with the English language, such as: \"ziyou 自由\" (freedom); \"hai 海\" (sea); \"hao 好\" (good); \"popo 婆婆\" (grandmother); \"shengming 生命\" (life); \"tudi 土地\" (soil); \"tielian 铁链\" (iron chain); \"Can be a good mum and a good artist?\"; \"The Chinese word mum is combined woman 女 + horse 马\"; \"Flying dress\"; \"Mothers are the best in the world if you have one you are precious\"; \"Yellow face wife\", \"Sea Big Ocean like Mother Care\", \"Don’t get greedy. Only harvest for as long as you can hold your breath\", etc."@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 13 ; write:transcriptionAndTranslation """Can be a good mum and a good artist?\r The Chinese word mum is combined woman 女 + horse 马\r Flying dress\r Mothers are the best in the world if you have one you are precious\r Yellow face wife\r Sea Big Ocean like Mother Care\r Don’t get greedy. Only harvest for as long as you can hold your breath"""@en, """mother\r freedom\r sea\r good\r grandmother\r life\r soil\r iron chain"""@en, """妈\r 自由\r 海\r 好\r 婆婆\r 生命\r 土地\r 铁链"""@zh, """Mā \r zìyóu \r hǎi \r hǎo \r pópo \r shēngmìng \r tǔdì \r tiěliàn"""@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Ⅰ (婊子、老处女、绿茶婊、贤妻良母...)" ; write:description "This CWU is part of the artwork \"I (Wo 我)\". It consists of the characters written by Wu Xixia inside an inflatable hermetic sphere during the performance that took place in 2020. In this performance, Wu Xixia carries out a reflection on women and herself, writing the labels of society’s goodwill and malice towards women in red paint, such as \"whore\" (biao zi 婊子) \"old maid\" (lao chunu 老处女), \"good wife and loving mother\" (xian qiliang mu 贤妻良母), \"green tea bitch (lucha biao 绿茶婊), \"teenage girl\" (yunu 玉女), \"white lotus\" (bailian hua 白莲花) etc. She answers questions such as: \"Who are women? And who am I? Is my gender determined by birth or is it given by society? There is a womb here, but where is the \"mother\"?\" Having been rejected by her family at the time of her birth as a female, she has been questioning her gender throughout her formative years, and the social labels she writes about are an attempt to reconcile herself with her gender identity."@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 17 ; write:transcriptionAndTranslation """whore\r old maid\r good wife and loving mother\r green tea bitch\r teenage girl\r white lotus"""@en, """婊子 \r 老处女\r 贤妻良母\r 绿茶婊\r 玉女\r 白莲花"""@zh, """biǎo zǐ \r lǎo chǔnǚ \r xián qīliáng mǔ \r lǜchá biǎo \r yùnǚ \r bái liánhuā"""@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Darling (救救我 、求求你、别杀我... )" ; write:description "This CWU is part of the artwork genarated during the performance \"Darling\", that was held in Macau in 2021. It consists of the characters written by Wu Xixia inside an inflatable hermetic sphere in front of a building called \"Darling\". The building was covered with red ribbons, which spread all the way to the inflatable ball. Inside the hermetic sphere, Wu Xixia using brush and red acrylic paint wrote sentences like: \"jiu jiu wo 救救我\" (help me); \"qiuqiu ni 求求你\" (I beg you), \"bie sha wo 别杀我\" (don't kill me); \"bie S wo 别S我\" (don't fuck me), etc."@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 11 ; write:transcriptionAndTranslation """help me\r I beg you\r don't kill me\r don't fuck me\r """@en, """救救我\r 求求你\r 别杀我\r 别S我"""@zh, """jiù jiù wǒ \r qiú qiú nǐ \r bié shā wǒ \r bié S wǒ"""@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU “Sexual” Calligraphy (《兰亭序》)" ; write:description "This CWU is part of the performance \"Sexual\" Calligrpahy (“性” 书法). It consists of the characters realized by Luo Shan. The artist, using a copybook, rewrites the characters of the \"Orchid Pavilion Preface\" composed by Wang Xizhi 王羲之 (303–361) in 353 with a black ink-soaked brush inserted inside her vagina."@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; write:isUnitOf , ; write:madeUsingTool , ; write:numberOfCharacters 324 ; write:transcriptionAndTranslation """It is the ninth year of Emperor Mu of Jin's Yonghe era\r The year of the Yin Water Ox,\r At the beginning of the third lunar month,\r We are all gathered at the orchid pavilion in Shanyin County, Guiji Commandery,\r For the Spring Purification Festival.\r All of the prominent people have arrived,\r From old to young.\r This is an area of high mountains and lofty peaks,\r With an exuberant growth of trees and bamboos,\r It also has clear rushing water,\r Reflecting the sunlight as it flows past either side of the pavilion.\r The guests are seated side by side to play the drinking game where a wine cup is floated down the stream and the first person sitting in front of the cup when it stops must drink.\r Although we lack the boisterousness of a live orchestra,\r With a cup of wine here and a reciting of poetry there, it is sufficient to allow for a pleasant exchange of cordial conversations.\r Today, the sky is bright and the air is clear,\r With a gentle breeze that is blowing freely. When looking up, one can see the vastness of the heavens,\r And when looking down, one can observe the abundance of things. The contentment of allowing one’s eyes to wander,\r Is enough to reach the heights of delight for the sight and sound. What a joy.\r Now all people live in this world together,\r Some will take all of their aspirations, and share them in private with a friend;\r Still others will abandon themselves to reckless pursuits.\r Even though everyone makes different choices in life, some thoughtful and some rash,\r When a person meets with joy, he will temporarily be pleased,\r And will feel content, but he is not mindful that old age will soon overtake him.\r Wait until that person becomes weary, or has a change of heart about something,\r And will thus be filled with regrets.\r The happiness of the past, in the blink of an eye,\r Will have already become a distant memory, and this cannot but cause one to sigh;\r In any case, the length of a man’s life is determined by the Creator, and we will all turn to dust in the end.\r The ancients have said, "Birth and Death are both momentous occasions."\r Isn’t that sad!\r Every time I consider the reasons for why the people of old had regrets,\r I am always moved to sadness by their writings,\r And I can not explain why I am saddened.\r I most certainly know that it is false and absurd to treat life and death as one and the same,\r And it is equally absurd to think of dying at an old age as being the same as dying at a young age.\r When future generations look back to my time, it will probably be similar to how I now think of the past.\r What a shame! Therefore, when I list out the people that were here,\r And record their musings, even though times and circumstances will change,\r As for the things that we regret, they are the same.\r For the people who read this in future generations, perhaps you will likewise be moved by these words."""@en, """永和九年，\r 岁在癸丑，\r 暮春之初，\r 会于会稽山阴之兰亭，\r 修禊事也。\r 群贤毕至，\r 少长咸集。\r 此地有崇山峻领，\r 茂林修竹，\r 又有清流激湍，\r 映带左右。\r 引以为流觞曲水，列坐其次；\r 虽无丝竹管弦之盛，\r 一觞一咏，亦足以畅叙幽情。\r 是日也，天朗气清，\r 惠风和畅，仰观宇宙之大，\r 俯察品类之盛，所以游目骋怀，\r 足以极视听之娱，信可乐也。\r 夫人之相与俯仰一世，\r 或取诸怀抱，晤言一室之内；\r 或因寄所托，放浪形骸之外。\r 虽趣舍万殊，静躁不同，\r 当其欣于所遇，暂得于己，\r 快然自足，不知老之将至。\r 及其所之既倦，情随事迁，\r 感慨系之矣。\r 向之所欣，俛仰之间，\r 已为陈迹，犹不能不以之兴怀；\r 况修短随化，终期于尽。\r 古人云﹕「死生亦大矣。」\r 岂不痛哉！\r 每揽昔人兴感之由，\r 若合一契，未尝不临文嗟悼，\r 不能喻之于怀。\r 固知一死生为虚诞，\r 齐彭殇为妄作。\r 后之视今，亦由今之视昔。\r 悲夫！故列叙时人，\r 录其所述，虽世殊事异，\r 所以兴怀，其致一也。\r 后之揽者，亦将有感于斯文。"""@zh, """永和九年，\r 歲在癸丑，\r 暮春之初，\r 會于會稽山陰之蘭亭，\r 脩禊事也。\r 群賢畢至，\r 少長咸集。\r 此地有崇山峻領，\r 茂林修竹，\r 又有清流激湍，\r 映帶左右。\r 引以為流觴曲水，列坐其次；\r 雖無絲竹管弦之盛，\r 一觴一詠，亦足以暢敘幽情。\r 是日也，天朗氣清，\r 惠風和暢，仰觀宇宙之大，\r 俯察品類之盛，所以遊目騁懷，\r 足以極視聽之娛，信可樂也。\r 夫人之相與俯仰一世，\r 或取諸懷抱，晤言一室之內；\r 或因寄所托，放浪形骸之外。\r 雖趣舍萬殊，靜躁不同，\r 當其欣于所遇，暫得于己，\r 快然自足，不知老之將至。\r 及其所之既倦，情隨事遷，\r 感慨係之矣。\r 向之所欣，俛仰之間，\r 已為陳迹，猶不能不以之興懷；\r 况修短隨化，終期于盡。\r 古人云﹕「死生亦大矣。」\r 豈不痛哉！\r 每攬昔人興感之由，\r 若合一契，未嘗不臨文嗟悼，\r 不能喻之于懷。\r 固知一死生為虛誕，\r 齊彭殤為妄作。\r 後之視今，亦由今之視昔。\r 悲夫！故列敘時人，\r 錄其所述，雖世殊事異，\r 所以興懷，其致一也。\r 後之攬者，亦將有感於斯文。"""@zh, """Yǒnghé jiǔ nián,\r suì zài guǐ chǒu,\r mùchūn zhī chū, \r huì yú guì jīshān yīn zhī lántíng, \r xiū xì shì yě. \r Qún xián bì zhì, \r shǎo zhǎng xián jí. \r Cǐdì yǒu chóng shān jùn lǐng,\r mào línxiūzhú,\r yòu yǒu qīngliú jī tuān,\r yìng dài zuǒyòu. \r Yǐn yǐ wéi liúshāng qū shuǐ, liè zuò qícì; \r suī wú sīzhú guǎnxián zhī shèng,\r yī shāng yī yǒng, yì zúyǐ chàngxù yōuqíng. \r Shì rì yě, tiān lǎng qì qīng,\r huìfēng hé chàng, yǎng guān yǔzhòu zhī dà, \r fǔchá pǐnlèi zhī shèng, suǒyǐ yóu mù chěng huái,\r zúyǐ jí shìtīng zhī yú, xìn kělè yě. \r Fūrén zhī xiāng yǔ fǔyǎng yīshì, \r huò qǔ zhū huáibào, wù yán yī shì zhī nèi;\r huò yīn jì suǒ tuō, fànglàngxínghái zhī wài. \r Suī qù shě wàn shū, jìng zào bùtóng, \r dāng qí xīn yú suǒ yù, zàn dé yú jǐ, \r kuài rán zìzú, bùzhī lǎo zhī jiàng zhì. \r Jí qí suǒ zhī jì juàn, qíng suí shì qiān, \r gǎnkǎixìzhī yǐ. \r Xiàng zhī suǒ xīn, fǔ yǎng zhī jiān, \r yǐ wèi chénjì, yóu bùnéng bù yǐ zhī xìng huái; \r kuàng xiū duǎn suí huà, zhōng qī yú jìn. \r Gǔrén yún﹕`sǐshēng yì dà yǐ.'\r Qǐ bù tòng zāi! \r Měi lǎn xī rén xìng gǎn zhī yóu, \r ruò hé yī qì, wèicháng bù lín wén jiē dào, \r bùnéng yù zhī yú huái. \r Gù zhī yī sǐshēng wèi xū dàn,\r qí péng shāng wèi wàng zuò. \r Hòu zhī shì jīn, yì yóu jīn zhī shì xī.\r Bēi fū! Gù liè xù shí rén, \r lù qí suǒ shù, suī shì shū shì yì,\r suǒyǐ xìng huái, qí zhì yī yě. \r Hòu zhī lǎn zhě, yì jiāng yǒu gǎn yú sīwén."""@zh-Latn . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Music Script, Still Night (静夜 音乐字)"@en, "静夜 音乐字"@zh, "Jìngyè Yīnyuè zì"@zh-Latn ; wdt:P170 ; wdt:P180 , , ; wdt:P186 , ; wdt:P2048 "34 cm"@en ; wdt:P2049 "34 cm"@en ; wdt:P462 , , ; wdt:P571 "2015"^^xsd:gYear ; sch:thumbnailUrl ; write:description "In \"Music Script, Still Night\", Fung Ming Chip combines calligraphy and music. The characters are transformed but it is still possible to recognize them; although the traditional structure of the columns is not respected, the disposal of the characters is from top to bottom and from right to left. Many strokes are replaced by round dots (which do not belong to the category of strokes used in Chinese writing to compose characters) which recall the form of musical notes. Fung Ming Chip realizes this calligraphy while the music resonates in the air, letting himself be inspired by it. The artwork is harmonious and rhythmic, because it precisely follows the rhythm of the music that inspired it."@en ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Rubbing script, I am who I am, change me no one can (我有拓字) "@en, "我有拓字"@zh, "Wǒ yǒu tà zì"@zh-Latn ; wdt:P170 ; wdt:P180 , ; wdt:P186 , , ; wdt:P2048 "183 cm"@en ; wdt:P2049 "31 cm"@en ; wdt:P462 ; wdt:P571 "1999"^^xsd:gYear ; write:description "This long vertical calligraphy is an example of work in which Fung Ming Chip plays with different dilutions of ink in water, creating stratified effects. The \"script type\" he creates in this work is \"rubbing script\" (ta zi 拓字) that reproduces the effect of rubbing tehnique. The artist wrote the characters on xuan paper with water and put the piece of paper into a pool of ink. The traces of writing instantly revealed themselves. The sentence quoted by Fung Ming Chip is \"我有我在, 息神无奈\", whose meaning is \"I am who I am, Change me no one can\"."@en ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Dance Remains Series (舞迹系列)"@en, "舞迹系列"@zh, "Wǔ jì xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "2018"^^xsd:gYear ; write:description """This series was created by the artist Jessie Yingying Gong in 2018, during the six months of the artist residency at the "Swatch Art Peace Hotel" in Shanghai. “Dance Remains” is a series of long exposure photographs the artist made of public dancers (both men and women) in various parks around Shanghai in the evening, after asking them to attach LED lights on their bodies while dancing. The artist captured around 80 photographs and in eight of them, the result appears as if dancers are writing an abstract secret language with the movement of their bodies, resembling some characters written in Nüshu 女书, such as "xin 心 (heart)"; "bei 背" (sadness); "shui 水" (water) and "xiao 小" (small).\r This for the artist evokes the times when the female population gathered together to sing songs and do embroidery in the Nüshu village. By combining these photographs with the flowy Nüshu characters, she intends to form a poetic visual compilation of photography and writing."""@en ; write:includesArtwork . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Away with the Flow Series (顺气自然)"@en, "顺气自然系列"@zh, "Shùn qì zìrán xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "2019"^^xsd:gYear ; write:description "In this series, Jessie Yingying Gong explores the subject of public exercise, this time spotlighting Taiji. This traditional form of Chinese martial arts incorporates routine and movement, breathing and mindfulness, along with the ideological balancing of the forces of yin and yang. In this binary, movement generates \"yang 阳\"; tranquility ultimately generates \"yin 阴\". The concept of Qi, the flow of energy, is essential to Taiji practice. It is the language used to pinpoint how the internal arts feels – an imagined communication between the mind and the body. In \"Away with the Flow\", the artist wants to visualize and manifest the bodily sensations in Taiji through a variety of media, involving photography, calligraphy, installation, visual poetry, video, and live performance."@en ; write:includesArtwork . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Away with the Flow - Taiji Calligraphy & Animation (顺气自然 - 太极书法动画)"@en, "顺气自然 - 太极书法动画"@zh, "Shùn qì zìrán - tàijí shūfǎ dònghuà"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P2048 "22 cm (each)" ; wdt:P2049 "13.5 cm (each)" ; wdt:P462 , ; wdt:P571 "2019"^^xsd:gYear ; write:description """This artwork is composed of a set of 175 calligraphy drawings visualizing the movement and body language of Taiji practice. Jessie Yingying Gong has drawn lines with a brush dipped in yellow ink, drawing two arms and two legs of a little man that reproduces all the main movements of Taiji.\r Jessie Yingying Gong also created a video with one of these drawing entiled "Away with the Flow - Animation video" (Shun qi ziran - shufa donghua 顺⽓⾃然 - 动画) a video of fiftyfive seconds creating one "Taiji Calligraphy" dancing animation. """@en ; write:hasVisualArtworkType ; write:madeUsingTool . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "New Semiotics Series (新符号学系列)"@en, "新符号学系列"@zh, "Xīn fúhào xué xìliè"@zh-Latn ; wdt:P170 ; wdt:P582 "2017"^^xsd:gYear ; write:description "In this series, starting in 2017 and ongoing, Jessie Yingying Gong compares two ancient styles of writing: \"Linear B\", that was a syllabic script used for writing in Mycenaean Greek, the earliest attested form of Greek and \"oracle bone script\", used anciently in China. The letters and characters of an alphabet began as depictions of daily objects and at first, signified those alone. In time they came to represent syllables or sounds. In the Chinese written language, this is particularly evident, as the original memory of meaning is still visible. A study into the Greek history showed that it also exists in very early manifestations of the western alphabet. Linear B is a form of ancient Greek dating from the Mycenaean civilization. This half pictographic, half syllabic language surprisingly bears much similarity with the ancient Chinese oracle bone script. Studying the ancient languages and their semiotics, looking at how images transform into symbols that represent words and concepts, this project is to explore this resemblance of linguistic history - how each of them and their meanings evolved through time, and how two very different cultures began their rich literary traditions from a similar elementary starting point. The contrasts and similarities is brought to life with lively neon signs and playful clay figurines depicting and representing those ancient languages. These letters and symbols are something foreign and alien, yet they are the foundation of something very familiar and recognisable. The contrasts and similarities of linguistic history is brought to life with lively neon signs and playful clay figurines. Jessie Yingying Gong idealized Chinese characters in oracle bone script, such as: \"xue 学\" (study); \"xi 喜\" (happiness); \"meng 梦\" (dream); \"yi 艺\" (arts and crafts), etc."@en ; write:includesArtwork . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Enfolding Series"@en ; wdt:P170 ; wdt:P580 "2019"^^xsd:gYear ; write:description """This series is divided into two parts:\r - Part 1. In this part, the series conceptualized by Jessie Yingying Gong consists of the combination of Chinese characters which became “folded” into Chinese Nüshu and Japanese Onnade respectively. “Women’s Writing”, Nüshu in Chinese, is a writing system developed by and only passed on among the female population of small villages in South Hunan Province. Derived from square Chinese characters and local symbols, Nüshu takes on a whimsical shape, looking almost like dancing figures. “Women’s Hand”, Onnade in Japanese, is a simplified writing style developed by women from Chinese cursive script, (later known as Hiragana), while Kanji was dominantly practiced by men at the time, and used to write official documents. The lenticular installation realized by Jessie Yingying Gong, demonstrates how one Chinese character became “folded” into Chinese Nüshu (Women’s Writing) and Japanese Onnade (Women’s Hand). respectively. According to the artist, it is the union between the Nushu and the Onnade that creates the Chinese character (or Kanji), underlining how the Chinese character is the element of universal connection and communication between the two worlds.\r - Part 2. In this part, Jessie Yingying Gong conceptualized different lenticulars which demonstrate how Chinese characters became “folded” into the Japanese Onnade. In Japan, women developed a simplified writing style from Chinese cursive script, known as Onnade, meaning “Women’s Hand” (later known as Hiragana).\r For both part 1 and part 2 the characters are designed on the computer first, by cutting each character (of the pair) into vertical strips, then stitching the strips one next to the other. By folding the sheet several times, an optical effect is obtained in which the two characters appear to join each other. \r Onnade and Nüshu appeared and manifested themselves in distinct ways. Eventually Onnade gained the upper hand and became the accepted form of writing together with Kanji, while Chinese Nüshu is now a dying practice considered cultural heritage. Yet together they tell the story of our shared history and memory — how women in different countries gave themselves a voice in a restricted and patriarchal environment, and how our communities and societies are connected through this resourceful act of defiance."""@en ; write:includesArtwork . a write:CalliWritingUnit ; wdt:P144 ; wdt:P1480 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Sculpture Writing - Woman (《法华经》)" ; write:description "This CWU is part of the performance \"Sculpture Writing - Woman\" realized by Li Xinmo in 2018 at the Swedish Museum. It consists of the characters of the Fahua Sutra the artist rewrites on a 30 meters long paper scroll. The long volume of the Fahua Sutra in her handwriting is hanged in the museum space, and she began to write in an ancient ceremony."@en ; write:hasBackgroundColour , ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 69384 ; write:vectorisedOrDigitised false . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Raindrop Script, Heart Sutra (雨点《心经》)"@en, "雨点《心经》"@zh, "Yǔdiǎn \"Xīnjīng\""@zh-Latn ; wdt:P170 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P2048 "91.5 cm"@en ; wdt:P2049 "90.5 cm"@en ; wdt:P462 , , , ; wdt:P571 "2012"^^xsd:gYear ; wdt:P856 ; sch:thumbnailUrl ; write:description "\"Raindrop Script, Heart Sutra\" was created in 2012 by the artist Fung Ming Chip. The source of inspiration is a scene of everyday life: the raindrops falling on the glass of a car. In this artwork, in fact, the artist tried to recreate raindrops on paper: he firstly used a brush full of ink on a plastic sheet, creating droplets on its non-absorbent surface. Then, using a dry brush and the ink droplets left on the plastic sheet, he wrote some lines from the Heart Sutra. Finally, he positioned a sheet of rice paper on the written plastic sheet, transferring the traced content from the plastic to the paper."@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P144 ; wdt:P1480 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Female Character Writing in a Patriarchal Society (妎、妇、妄、婪...)" ; write:description "This CWU is part of the performance \"Female Character Writing in a Patriarchal Society (Fuxi shehui de nu zi shuxie 父系社会的女字书写)\". It consists of some big traditional characters of the famous Chinese dictionary named \"Shuowen Jiezi 说文解字\" realized by Xu Shen (c. 58 – c. 148 CE). These characters are accompained with their explanations written in smaller size. These big characters with female radical have all a negative meaning, for example: \"hai 妎\" (jealous/demanding); \"fu 妇\" (woman/wife); \"wang 妄\" (presumptuous/rash); \"lan 婪\" (be greedy); \"fang 妨\" (harm), \"hun 婚\" (married), \"yin 婬\" (lascivious/licentious); \"ning 佞\" (sycophant/toady); \"du 妒\" (jealous/envy); \"qu 娶\" (take a wife); \"wei 委\" (throw away/cast aside); \"zi 姊\" (older sister) etc. Characters are realized with white ink on a black wall in regular script. In addition, they are realized in non-simplified form and from top to bottom and from right to left, recalling ancient scriptures. In China female discrimination has a very ancient origin. It starts from writing and, consequently, from calligraphy, an artistic practice exclusive to male in China."@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 180 ; write:transcriptionAndTranslation """jealous/demanding\r woman/wife\r presumptuous/rash\r be greedy\r harm\r married\r lascivious/licentious\r sycophant/toady\r jealous/envy\r take a wife\r throw away/cast aside\r older sister"""@en, """妎\r 妇\r 妄\r 婪\r 妨\r 婚\r 婬\r 佞\r 妒\r 娶\r 委\r 姊"""@zh, """妎\r 婦\r 妄\r 還\r 妨\r 婚\r 婬\r 佞\r 妒\r 娶\r 委\r 姊"""@zh, """hài \r fù \r wàng \r lán \r fáng \r hūn \r yín \r nìng \r dù \r qǔ \r wěi \r zǐ\r """@zh-Latn ; write:vectorisedOrDigitised false . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , , , , , , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , ; wdt:P9302 , ; sch:thumbnailUrl ; write:attributedTitle "CWU VR - Wandering Beyond (《庄子—逍遥游》)" ; write:description "This CWU features the illegible text inscribed by Wang Dongling in the creation of the artwork \"VR – Wandering Beyond\". It is based on a sentence of 14 Chinese characters—\"野马也,尘埃也,生物之以息相吹也\" (Wild stallions, wandering dust, the breath of beings intertwined in the wind)—from the first chapter of the \"Zhuangzi\" entitled \"Wandering Beyond\" (Xiaoyao you 逍遥游). This chapter explores themes of spontaneity, relativism, and the nature of reality. It begins with the tale of Kun, a giant fish that transforms into Peng, an immense bird capable of soaring to extraordinary heights and traveling vast distances—far beyond human reach. This transformation symbolizes the boundless potential of nature and the vastness of the universe, contrasting with the limitations of human existence. Wang Dongling’s calligraphic virtual signs transcend reality through a continuous series of transformations, reflecting Zhuangzi’s philosophy. His art embraces the natural flow of change, rejecting rigid structures in favor of spontaneity and fluidity."@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image ; write:isUnitOf , ; write:numberOfCharacters 14 ; write:transcriptionAndTranslation "The drifting clouds move like wild horses, and the dust is stirred by the breath of living beings; all things are moved by the breath of life."@en, "野馬也,塵埃也,生物之以息相吹也。"@zh, "野马也,尘埃也,生物之以息相吹也。"@zh, "Yěmǎ yě, chén'āi yě, shēngwù zhī yǐ xī xiāng chuī yě."@zh-Latn ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P144 , ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 , , ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 The Bamboo Path (《诗经》,《 离骚》)" ; write:description "This CWU belongs to the installation \"The Bamboo Path\" (Zhu jing 竹径). The artist used cursive and clerical scripts on the bamboo poles to write poems from the \"Classic of Poetry\" (Shijing 诗经), some lines from the famous \"Encountering Sorrow“ (Li sao 离骚) and other historical lyrics about the bamboo from past dynasties. Instead of ink, Wang Dongling adopted a writing fluid made up of kneading oil (nieyou 捏油 ), a special oil used to protect Moso bamboo, mixing with acrylic paint. He wrote on 201 bamboo poles with a height of 5 meters and a diameter of 15 centimeters. He employed clerical script exclusively on one pole, clearly alluding to the Qin (221-206 BCE) and Han (206 BCE–220 CE) dynasties. During these two dynasties, strips of bamboo or wood written in clerical script and represented the main media for writing documents before the introduction of paper. "@en ; write:directionality "Traditional" ; write:hasBackgroundColour , ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:relatedUnit . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Gas" ; wdt:P27 ; wdt:P569 "1989"^^xsd:gYear ; wdt:P800 ; wdt:P812 ; wdt:P856 ; wdt:P937 ; sch:thumbnailUrl ; write:description "Gas was born in 1989 in Chongzhou, a small town near Chengdu. He joined the hip-hop culture when he was twelve years old, through magazines and websites. The first tag he chose was Code321 and he used it only for 2 years. When he was fifteen, he started painting on walls, and at the age of nineteen he entered the \"Chengdu Vocational Art Academy\" (Environmental Art Design). At an early age he was named Shui Gui 水鬼 (Water Ghost), but the tag he has decided to use is GAS, which the artist reproduces in both Latin letters and Chinese characters (Qi 氣). His Chinese tag Qi 氣 is a translation of the word \"Gas\" and relates to the Chinese cultural concept of \"vital energy\", \"vital force\", \"material energy\", or simply \"energy\". \"Qi 氣 is everywhere, even while you and I are talking right now\", he has been quoted as saying. Gas mostly uses his Chinese tag Qi 氣 as the main piece for his works. The character is produced in various shapes, techniques, colours and styles. In addition to the character qi 氣, Gas often uses other Chinese characters for his works, like Yu 雨 (Rain) or Feng 風 (Wind) written in non-simplified form. GAS often creates works in collaboration with other artists, mostly for commercial purposes. In 2009, Gas struck up a friendship with Seven (or Seve), giving birth to an artistic-commercial duo named Hao Qiao 好巧 (How Chill). Gas’ art fits perfectly with that vein of \"Chinese style graffiti\" which is expressed using Chinese characters and/or references to Chinese cultural elements. In Gas’ works, a search for \"Chineseness\" and an attempt to develop a specific \"Chinese style\" is strongly palpable. Gas is the most representative writer on the Chengdu graffiti scene. He is: (1) one of the precursors of graffiti writing in Chengdu; (2) one of the first writers in China to use Chinese characters in his works; and (3) an ongoing \"king\" for young writers operating in the city. "@en ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:hasTag "Gas"@en, "Water Ghost"@en, "氣"@zh, "水鬼"@zh, "Qi"@zh-Latn, "Shui Gui"@zh-Latn ; sch:image . a wd:Q17514 ; wdt:P1476 "Gas (气)"@en, "气"@zh, "氣"@zh, "Qì"@zh-Latn ; wdt:P170 ; wdt:P180 , , ; wdt:P186 , ; wdt:P276 , ; wdt:P462 , , , , , , , ; wdt:P571 "2019"^^xsd:gYear ; wdt:P6375 "Lin Xiang Zi, Jinniu District, Chengdu (China)"@en ; wdt:P941 ; sch:thumbnailUrl ; write:description """The piece "Gas (Qi 氣)" was created in the Jinniu District of Lin Xiang Zi, and consists of the large character Qi 氣 (Gas) written in non-simplified form, in 3D graffiti style. This character is the tag of the artist: the choice of this character is related to the importance that this word/concept has in Chinese culture. This Chinese tag Qi 氣 is a translation of the word "Gas" and relates to the Chinese cultural concept of "vital energy", "vital force", "material energy", or "simply energy". In the traditional Chinese concept, qi is recognized as da qi 大氣 (great energy or energy of the macrocosm) and xi qi 吸氣 (breath). Originally, the da qi would have descended, giving birth to the earth; so the rain is understood as the "qi of the earth", which, becoming rarefied, would have risen, giving birth to the heaven. The human being, who is between heaven and earth, has both manifestations of da qi: the heavier one forms the body, the lighter one forms the heart. The idea of qi is also connected to another fundamental traditional Chinese concept, that of xing 行 (phase, process). The concept of the wu xing 五行 (five elements, more precisely defined as "the five processes") describes nature as the set of the five elements that compose it (fire, water, metal, wood and earth) and as a consequence of the relationships that occur between them. Referring to these two fundamental concepts of Chinese culture (qi and xing), the artist highlights, in the choice of his very name, how his will is to instill oriental "breath" in his art. The piece has a thick white outline. Every stroke has various layers of colors from dark to light blue, from dark to light purple, from dark to light brown and from dark to light green. The character has two backgrounds: the first is a grey "bubble-cloud", the second is a black wall. This character seems to reproduce a calligraphic seal of contemporary times: like a traditional seal, it is the sign of the artist, and it is characterized by angular strokes.\r On the right side of the piece, the tag GAS is reproduced in Latin letters, as well as the tag KB (Kong Boys), a crew from Hong Kong with whom GAS often collaborates. On the left side, there are the two Chinese characters, Hao Qiao 好巧, which represent the tag "How Chill", an artistic-collaborative duo between Gas and SEVE (or SEVEN), a writer of the ABS crew from Beijing. \r """@en ; write:hasChengyu false ; write:hasChineseConcept ; write:hasChineseVisualElement ; write:hasGraffitiGenre ; write:hasGraffitiStyle , , ; write:hasGraffitiType , ; write:hasOtherVisualElement ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 , , ; write:attributedTitle "CWU Understanding the Twelve Beauty of Jinling (林黛玉、薛宝钗...)" ; write:description "This CWU is part of the musicalligraphy performance entitled \"Understanding the Twelve Beauty of Jinling \" (Lingwu jinling shi'er jin cha 领悟金陵十二金钗) which took place at the Yulan Grand Theatre of Dongguan, on November, 25, 2017. In this performance, Pu Lieping together with other two calligraphers Wang Xiaoming 王晓明and Wang Yong 王勇painted in black ink the twelve names of the “Twelve Beauties of Jinling” (Jinling shi’er chai 金陵十二钗) of the work “Dream of the Red Chamber” (Honglou Meng 红楼梦), a novel composed by Cao Xueqin 曹雪芹 (1710 - 1765) in the middle of the 18th century. "@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 34 ; write:transcriptionAndTranslation """Lin Daiyu \r Xue Baochai\r Jia Yuanchun\r Jia Tanchun\r Shi Xiangyun\r Miao Yu \r Jia Yingchun \r Jia Xichun\r Wang Xifeng\r Jia Qiaojie\r Li Wan\r Qin Keqing"""@en, """林黛玉 \r 薛宝钗\r 贾元春\r 贾探春\r 史湘云\r 妙玉\r 贾迎春\r 贾惜春\r 王熙凤\r 贾巧姐\r 李纨\r 秦可卿"""@zh, """Lín Dàiyù \r Xuē Bǎochāi \r Jiǎ Tànchūn\r Shǐ Xiāngyún \r Miào Yù \r Jiǎ Yíngchūn \r Jiǎ Xīchūn \r Wáng Xīfèng \r Jiǎ Qiǎojiě\r Lǐ Wán \r Qín Kěqīng"""@zh-Latn ; write:vectorisedOrDigitised false . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 , , ; write:attributedTitle "CWU 1 Shanghai be strong (上海坚强)" ; write:description "This Calli-Writing Unit is composed of four characters (Shanghai jianqiang 上海坚强). The first two characters \"上海\" (Shanghai) were painted by Huri in running script (xingshu 行书). The other two characters jianqiang \"坚强\" (fortify, be strong) were painted by Storm (French writer) in regular script (kaishu 楷书). Because of their uniform thickness, maybe painted using a pasting brush or a paint roller, the \"jianqiang 坚强\" characters might also call to mind the great seal script (dazhuanshu 大篆书). Both parts have a thin black outline that grants a tridimensional effect. "@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasGraffitiStyle , ; write:hasSignificance "Meaningful writing" ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool , , ; write:numberOfCharacters 4 ; write:relatedUnit ; write:transcriptionAndTranslation "Shanghai be strong"@en, "上海坚强"@zh, "Shànghǎi jiānqiáng"@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Lin Hwai-min 林懷民 " ; wdt:P27 ; wdt:P361 ; wdt:P569 "1947-02-19"^^xsd:date ; wdt:P800 ; wdt:P812 ; wdt:P937 ; write:description "Lin Hwai-min attended Chun Wen Elementary School in Chiayi for one year before transferring to Taichung First High School. He next moved to Weido, a private Catholic Brothers’ boy school. His father encouraged him to take on law studies at the National Chengchi University but after a year, he switched majors to journalism. Graduating with a degree in journalism, Lin was drafted into the army with an office job in communications in Taipei. In the 1960s, when modern dance was gaining popularity in Taiwan, Lin enrolled in a dance studio. Later on, Lin attended workshops by renowned dancers such as Chungliang Al Huang and Yen Lo-Wong. In 1969, Lin left for the United States on a scholarship to study journalism at the University of Missouri. At Missouri, he received a fellowship to the University of Iowa’s International Writing Program to study under renowned poet, Paul Engle. At UI, he participated actively in theatre and fine arts. He also attended a Modern Dance course taught by Marcia Thayer. Lin would later on refer to her strong passion and dedication to the art of dance as an important influence. It is from this increased involvement in dance and fine arts that he sharpened his interest and enrolled in a summer course at Martha Graham Center of Contemporary Dance in New York, where he would later on spend most of his time upon receiving his master's degree from Iowa to hone his artistic skills and knowledge. When Lin returned to Taiwan in the 1970s, he started writing and choreographing as well as teaching at the National Chengchi University and the Chinese Cultural University. He founded \"Cloud Gate Dance Theatre of Taiwan\" in 1973 and retired at the end of 2019, appointing CHENG Tsung-lung the company’s new Artistic Director. Celebrated by Time magazine as one of Asia’s Heroes, he has led this company to international prominence through his thrilling creations that transform Asian aesthetics into contemporary celebration of motion. LIN has created over 90 choreographic pieces, many of which have left an indelible imprint on the audience’s memories, such as LEGACY, NINE SONGS, MOON WATER, RICE, SONGS OF THE WANDERERS, and “Cursive: A Trilogy”—CURSIVE, PINE SMOKE, and WILD CURSIVE. In 2019, his FORMOSA was selected by the Guardian as one of the Top 20 “Best Dances of the 21st Century.” In 1983, he created the Department of Dance at Taipei National University of the Arts and since 2000, he has been serving as the Artistic Director of the Novel Dance Series for the Novel Hall dance venue in Taipei. Lin often assimilates old forms of dance with contemporary style and interpretation. He has composed many original works as well as modified and adapted classical works from Peking opera. He incorporates different art forms into his pieces and marries Western and Eastern aesthetics and style into a distinct fusion signature of the Cloud Gate Company. He is famous for his ability to seamlessly integrate different styles such as ballet, traditional Chinese opera, Buddhist meditation and martial arts like tai chi as well as Taiwanese aborigines ritual dance into his choreographic works. He immerses himself in the study of Asian culture, such as studying court dance in Seoul in 1975 as well as spending quality time throughout his career in Bali to observe local rituals and ceremonies. Furthermore, most of his works would include themes that relate closely to Taiwan. At the beginning of his career, he was deeply concerned with political changes in his home country and he was also aware of the rise of Taiwanese consciousness. He felt responsible to compose pieces to reflect Taiwan’s history as this also intimately relate to his own past and upbringing. He draws inspiration from diverse sources of artistic styles to create unique contemporary dance movements that reflected Taiwan society's complexity. The dynamic Chinese and Japanese experiences of his family (and Taiwan's colonial past), his western education in the United States as well as his vast knowledge on Asian and Taiwanese Aboriginal traditional cultures and rituals all contributed significantly in helping him form his artistic vision of Taiwan."@en ; write:hasCalligraphicTraining "Academic"@en ; write:hasWikidataResource . a wd:Q7725634 ; wdt:P1476 "Encountering Sorrow (离骚)"@en, "离骚"@zh, "Lí Sāo"@zh-Latn ; wdt:P1480 ; wdt:P50 ; wdt:P571 "0300"^^xsd:gYear ; write:description "This is an ancient Chinese poem from the anthology \"Chu Ci\" (楚辞) traditionally attributed to Qu Yuan 屈原 (c. 340 BCE – 278 BCE). \"Li Sao\" dates from the 3rd century BCE, during the Chinese Warring States period (475-221 BCE). It is the purported biography of its author. In \"Li Sao\", in fact, the poet despairs that he has been plotted against by evil factions at court with his resulting rejection by his lord and then recounts a series of shamanistic spirit journeys to various mythological realms, engaging or attempting to engage with a variety of divine or spiritual beings, with the theme of the righteous minister unfairly rejected sometimes becoming exaggerated in the long history of later literary criticism and allegorical interpretation."@en ; write:hasWikidataResource ; write:transcriptionAndTranslation """Of the god-king Gao-yang I am the far offspring,\r My late honored sire bore the name of Bo-yong.\r The she-ti stars aimed to the year's first month;\r Geng-yin was the day that I came down.\r \r He scanned and delved into my first measure,\r From the portents my sire gave these noble names:\r The name that he gave me was Upright Standard;\r And my title of honor was Godly Poise.\r \r Such bounty I had of beauty within,\r And to this was added fair countenance.\r I wore mantles of river rush and remote angelica,\r Strung autumn orchids to hang from my sash.\r \r I knelt with robes open, thus stated my case,\r Having grasped so clearly what is central and right.\r I teamed jade white dragons, rode the Bird that Hides Sky,\r Waiting on winds to fleetly fare upward.\r \r At dawn I loosed wheel-block there by Cang-wu,\r And by twilight I reached the Gardens of Air.\r I wished to bide a while by the windows of gods,\r But swift was the sun and it soon would be dusk.\r \r I bade sun-driver Xi-he, to pause in her pace,\r To stand off from Yan-zi and not to draw night.\r On and on stretched my road, long it was and far,\r I would go high and go low in this search that I made.\r \r I watered my horses in the Pools of Xian,\r And twisted the reins on the tree Fu-sang,\r I snapped a branch of the Ruo Tree to block out the sun,\r I roamed freely the while and lingered there.\r \r Those men of faction had ill-gotten pleasures,\r Their paths went in shadow, narrow, unsafe.\r Not for myself came this dread of doom—\r I feared my king's chariot soon would be tipped.\r \r In haste I went dashing in front and behind,\r Till I came to the tracks of our kings before.\r Lord Iris did not fathom my nature within,\r He believed ill words, he glowered in rage.\r \r I knew well my bluntness had brought me these woes,\r Yet I bore through them, I could not forswear.\r I pointed to Heaven to serve as my warrant,\r It was all for the cause of the Holy One.\r \r It is now done forever!\r In all the kingdom there is no man, no man who knows me,\r Then why should I care for that city, my home?\r Since no one will join me in making good rule,\r I will go off to seek where Peng and Xian dwell."""@en, """帝高陽之苗裔兮，\r 朕皇考曰伯庸。\r 攝提貞于孟陬兮，\r 惟庚寅吾以降。\r \r 皇覽揆余初度兮，\r 肇錫余以嘉名。\r 名余曰正則兮，\r 字余曰靈均。\r \r 紛吾既有此內美兮，\r 又重之以脩能。\r 扈江離與辟芷兮，\r 紐秋蘭以為佩。\r 跪敷衽以陳辭兮，\r 耿吾既得此中正。\r 駟玉虯以乘鷖兮，\r 溘埃風余上徵。\r \r 朝發軔於蒼梧兮，\r 夕余至乎縣圃。\r 欲少留此靈瑣兮，\r 日忽忽其將暮。\r \r 吾令羲和弭節兮，\r 望崦嵫而勿迫。\r 路曼曼其脩遠兮，\r 吾將上下而求索。\r \r 飲余馬於咸池兮，\r 總余轡乎扶桑。\r 折若木以拂日兮，\r 聊逍遙以相羊。\r 惟黨人之偷樂兮，\r 路幽昧以險隘。\r 豈余身之憚殃兮，\r 恐皇輿之敗績。\r \r 忽奔走以先後兮，\r 及前王之踵武。\r 荃不察余之忠情兮，\r 反信讒而齌怒。\r \r 余固知謇謇之為患兮，\r 忍而不能舍也。\r 指九天以為正兮，\r 夫唯靈脩之故也。\r \r 已矣哉，\r 國無人莫我知兮，\r 又何懷乎故都？\r 既莫足與為美政兮，\r 吾將從彭咸之所居。"""@zh, """Dì gāoyáng zhī miáoyì xī,\r zhèn huáng kǎo yuē bó yōng.\r Shè tí zhēn yú mèng zōu xī,\r wéi gēng yín wú yǐjiàng.\r \r Huáng lǎn kuí yú chūdù xī,\r zhào xī yú yǐ jiā míng.\r Míng yú yuē zhèngzé xī,\r zì yú yuē líng jūn.\r \r Fēn wú jì yǒu cǐ nèi měi xī,\r yòu zhòng zhī yǐ xiū néng.\r Hù jiāng lí yǔ pì zhǐ xī,\r niǔ qiū lán yǐwéi pèi.\r Guì fū rèn yǐ chén cí xī,\r gěng wú jìdé cǐ zhōngzhèng.\r Sì yù qiú yǐ chéng yī xī,\r kè āi fēng yú shàng zhǐ.\r \r Zhāo fārèn yú cāngwú xī,\r xī yú zhì hū xiàn pǔ.\r Yù shǎo liú cǐ líng suǒ xī,\r rì hūhū qí jiāng mù.\r \r Wú lìng xī hé mǐ jié xī,\r wàng yān zī ér wù pò.\r Lù màn màn qí xiū yuǎn xī,\r wú jiāng shàngxià ér qiúsuǒ.\r \r Yǐn yú mǎ yú xián chí xī,\r zǒng yú pèi hū fúsāng.\r Zhé ruòmù yǐ fú rì xī,\r liáo xiāoyáo yǐ xiāng yáng.\r Wéi dǎng rén zhī tōu lè xī,\r lù yōu mèi yǐ xiǎn'ài.\r Qǐ yú shēn zhī dàn yāng xī,\r kǒng huáng yú zhī bàijī.\r \r Hū bēnzǒu yǐ xiānhòu xī,\r jí qián wáng zhī zhǒng wǔ.\r Quán bù chá yúzhīzhōng qíng xī,\r fǎn xìn chán ér jì nù.\r \r Yú gù zhī jiǎn jiǎn zhī wéihuàn xī,\r rěn ér bùnéng shě yě.\r Zhǐ jiǔtiān yǐwéi zhèng xī,\r fū wéi líng xiū zhī gù yě.\r \r Yǐ yǐ zāi,\r guó wúrén mò wǒ zhī xī,\r yòu hé huái hū gù dōu?\r Jì mò zú yǔ wéi měi zhèng xī,\r wú jiāng cóng péngxiánzhī suǒ jū."""@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , , , ; wdt:P186 , , ; wdt:P282 ; wdt:P462 ; write:attributedTitle "CWU Desire for Procreation and Life (生命之韵 )" ; write:description "This CWU is part of the performance \"Desire for Procreation and Life (渴望生命)\". It consists of the four characters 生命之韵 written by Pu Lieping on the paper and on the white clothes worn by the dancer. Character strokes are decomposed into abstract lines to the rhythm of the music."@en ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:transcriptionAndTranslation "rhythm of life"@en, "生命之韵"@zh, "shēngmìng zhī yùn"@zh-Latn ; write:vectorisedOrDigitised false . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU 1 With These Hands (《这双手》)" ; write:description "CWU 1 features the main text of the work \"Mit diesen Händen\" by Huang Miaozi. The artist wrote seven lines of characters in an archaic seal script inspired by the Shang-Zhou bronzes. This text draws inspiration from the poem \"Mit diesen Händen\" by German writer Heinrich Böll, translated by Hao Dazheng. At the end of the poem, written in seal script, the calligrapher Huang Miaozi added two lines in regular script: \"A few sentences from the German Heinrich Böll's posthumous work With These Hands translated in 1992 by Hao Dazheng. (Huang) Miaozi wrote them using the scripts of the Shang and of the Zhou.\""@en ; write:directionality "Traditional" ; write:hasBackgroundColour , ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 64 ; write:relatedUnit ; write:transcriptionAndTranslation " A few sentences from the German Heinrich Böll's posthumous work \"With These Hands\" translated in 1992 by Hao Dazheng. (Huang) Miaozi wrote them using the scripts of the Shang and of the Zhou. (Colophon)"@en, """You have washed these hands millions of times\r and they are always clean, pure, innocent.\r Nobody has been afraid to clasp them.\r though it was with these hands\r that you placed deadly grenades into the launcher.\r (Translation by Barrass, 2002 p. 178)"""@en, " 德国海因利希·伯尔遗作《用这双手》的几句; 一九九二年郝大铮译, 苗子以商周文字书之。(Colophon)"@zh, """这双手\r 你曾洗过一百万遍\r 而且总是干净纯洁清白\r 没有人害怕将它握住\r 虽然你曾用它\r 把致人死命的榴弹\r 向发生器的炮口装填。\r (Barrass, 2002 p. 277)\r """@zh, """這雙手\r 你曾洗過一百萬遍\r 而且總是乾淨純潔清白\r 沒有任何人害怕將它握住\r 雖然你曾用它\r 把致人死命的榴彈\r 向發生器的炮口裝填"""@zh, "Déguó Hǎiyīnlìxī · Bó'ěr yí zuò “Yòng zhè shuāng shǒu” de jǐ jù yījiǔjiǔ'èr nián Hǎo Dàzhēng yì Miáozǐ yǐ Shāng Zhōu wénzì shū zhī (Colophon)"@zh-Latn, """Zhè shuāng shǒu\r nǐ céng xǐ guò yī bǎi wàn biàn\r érqiě zǒng shì gānjìng chúnjié qīngbái\r méiyǒu rén hàipà jiāng tā wòzhù\r suīrán nǐ céng yòng tā\r bǎ zhì rén sǐ mìng de liúdàn\r xiàng fāshēngqì de pàokǒu zhuāngtián."""@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , , , , ; wdt:P186 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; write:attributedTitle "CWU 2 With These Hands (Sign/手)" ; write:description "CWU 2 features the blue handprint of the calligrapher Huang Miaozi, which serves as the background for the text of Böll's poem titled \"Mit diesen Händen.\" The text in CWU 1 is written in seal style with highly pictographic characters. Similarly, this handprint represents the pictographic form of the character 手 (shou), meaning \"hand\", overlaying the surface of the main text included in CWU 1."@en ; write:directionality "Unidentifiable" ; write:hasBackgroundColour , ; write:hasCalligraphicLine false ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 1 ; write:relatedUnit ; write:transcriptionAndTranslation "Hand"@en, "手"@zh, "Shǒu"@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 , ; wdt:P462 , , , , , , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Ars divina (神工意匠 + tags)" ; write:description """The Calli-Writing Unit in the center of the piece is composed of four Chinese characters "Shengongyijiang 神工意匠": they are a Chinese "four-character idiom" (chengyu 成语). This chengyu also represents the title of the whole opera and it is an idiomatic expression used to describe the sublime beauty (exquisite conception and compositional structure) of a work of art (e.g. architectural buildings, paintings, etc.) shaped not only as a result of human capacities and labor, but also thanks to divine intervention. This chengyu has taken inspiration from the last line of a poem composed by Zhao Puchu 赵朴初 (1907-2000) entitled "Byōdō-in Temple (Pingdeng Yuan 平等院)". In this poem, Zhao Puchu describes the ecstatic sensation while contemplating the sublime beauty of the most beautiful building in the temple, the "Phoenix Hall" (Fenghuang Tang 凤凰堂), built about a thousand years before. He compares its solemn beauty to the literary peaks reached during the period of full literary grandeur in the Tang dynasty (618-907). In the poet’s vision, Buddhism overloaded those peaks, because the "divine breath added something that goes beyond what human nature requires" (shengongyijiang).\r The piece is shaped using wildstyle and 3D style, it reproduces a European style (German colors) and recalls a regular script (kaishu 楷书). The inner colors of the text are very simple but embellished with geometric decorative inlays. The first outline and the thickness of each character are black, the second double outline is red with glow effects, and the final, interrupted outline is yellow. The yellow line shape suggests the spiral movement of the clouds in the background, which reproduce the Chinese traditional decorative pattern called yunwen 云纹 (clouds pattern). Stylized drips are drawn into the clouds to add a graffiti effect to the whole composition. A dark grey shadow is finally drawn in the back of each character in order to underline the illusion of three-dimensional shape and space. \r \r """@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf , ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:relatedUnit ; write:transcriptionAndTranslation "Ars Divina"@en, "神工意匠"@zh, "Shéngōngyìjiàng"@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , , ; wdt:P1412 ; wdt:P21 ; wdt:P2561 "Gao Shiming 高世名" ; wdt:P27 ; wdt:P812 , , ; wdt:P856 ; wdt:P937 ; write:description "Gao Shiming is President of China Academy of Art (CAAC, Zhongguo meishu xueyuan 中国美术学院)), Vice Chairman of Committee of Academy Affairs, PhD and Professor in the Department of Art History at CAA. His research subjects include visual culture research, contemporary art studies, and curatorial study."@en ; write:isCuratorOf , . a write:CalliWritingUnit ; wdt:P144 , ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU The Heart Sutra in Chaos Script at the Brooklyn Museum (《心经》)" ; write:description "This CWU is part of the artwork created by Wang Dongling on November 7, 2015 for the performance \"The Heart Sutra in Chaos Script at the Brooklyn Museum\" (乱书《心经》现场书写纽约布鲁克林博物馆). Wang Dongling writes the 268 characters of the Heart Sutra in Chaos Script (luan shu 乱书), making the characters mostly unrecognizable."@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 268 ; write:transcriptionAndTranslation """When Avalokiteshvara Bodhisattva was practicing the profound prajnaparamita, he illuminated the five skandhas and saw that they are all empty, and he crossed beyond all suffering and difficulty.\r Shariputra, form does not differ from emptiness; emptiness does not differ from form. Form itself is emptiness; emptiness itself is form. So, too, are feeling, cognition, formation, and consciousness.\r Shariputra, all dharmas are empty of characteristics. They are not produced. Not destroyed, not defiled, not pure, and they neither increase nor diminish.\r Therefore, in emptiness there is no form, feeling, cognition, formation, or consciousness; no eyes, ears, nose, tongue, body, or mind; no sights, sounds, smells, tastes, objects of touch, or dharmas; no field of the eyes, up to and including no field of mind-consciousness; and no ignorance or ending of ignorance, up to and including no old age and death or ending of old age and death. There is no suffering, no accumulating, no extinction, no way, and no understanding and no attaining.\r Because nothing is attained, the Bodhisattva, through reliance on prajna paramita, is unimpeded in his mind. Because there is no impediment, he is not afraid, and he leaves distorted dream-thinking far behind. Ultimately Nirvana!\r All Buddhas of the three periods of time attain Anuttarasamyaksambodhi through reliance on prajnaparamita. Therefore, know that prajna paramita is a great spiritual mantra, a great bright mantra, a supreme mantra, an unequaled mantra. It can remove all suffering; it is genuine and not false. That is why the mantra of prajna paramita was spoken. Recite it like this:\r Gate gate paragate parasamgate bodhi svaha!\r Gate gate paragate parasamgate bodhi svaha!\r Gate gate paragate parasamgate bodhi svaha!\r (Translator: Tang Dharma Master of the Tripitaka Hsüan)"""@en, "觀自在菩薩，行深般若波羅蜜多時，照見五蘊皆空，度一切苦厄。舍利子！色不異空，空不異色；色即是空，空即是色，受想行識亦復如是。舍利子！是諸法空相，不生不滅，不垢不淨，不增不減。是故，空中無色，無受想行識；無眼耳鼻舌身意；無色聲香味觸法；無眼界，乃至無意識界；無無明，亦無無明盡，乃至無老死，亦無老死盡；無苦集滅道；無智亦無得。以無所得故，菩提薩埵。依般若波羅蜜多故，心無罣礙；無罣礙故，無有恐怖，遠離顛倒夢想，究竟涅槃。三世諸佛，依般若波羅蜜多故，得阿耨多羅三藐三菩提。故知：般若波羅蜜多是大神咒，是大明咒，是無上咒，是無等等咒，能除一切苦，真實不虛。故說般若波羅蜜多咒，即說咒曰：揭諦揭諦，波羅揭諦，波羅僧揭諦，菩提薩婆訶。"@zh, "Guān zìzài púsà, xíng shēn bōrě bōluómì duō shí, zhàojiàn wǔyùn jiē kōng, dù yīqiè kǔ è. Shèlì zi! Sè bù yì kōng, kōng bù yìsè; sèjíshìkōng, kōngjíshìsè, shòu xiǎng xíng shí yì fù rúshì. Shèlì zi! Shì zhū fǎ kōng xiāng, bù shēng bùmiè, bù gòu bù jìng, bù zēng bù jiǎn. Shì gù, kōngzhōng wúsè, wú shòu xiǎng xíng shí; wú yǎn ěrbí shé shēn yì; wúsè shēng xiāngwèi chù fǎ; wú yǎnjiè, nǎizhì wúyìshí jiè; wú wúmíng, yì wú wúmíng jǐn, nǎizhì wú lǎosǐ, yì wú lǎosǐ jǐn; wú kǔ jí miè dào; wú zhì yì wú dé. Yǐ wú suǒdé gù, pútí sà duǒ. Yī bōrě bōluómì duō gù, xīn wú guà ài; wú guà ài gù, wú yǒu kǒngbù, yuǎnlí diāndǎo mèngxiǎng, jiùjìng nièpán. Sānshì zhū fú, yī bōrě bōluómì duō gù, dé ā nòu duō luó sān miǎo sān pútí. Gùzhī: Bōrě bōluómì duō shì dàshén zhòu, shì dàmíng zhòu, shì wú shàng zhòu, shì wú děng děng zhòu, néng chú yīqiè kǔ, zhēnshí bù xū. Gù shuō bōrě bōluómì duō zhòu, jí shuō zhòu yuē: Jiē dì jiē dì, bō luó jiē dì, bō luó sēng jiē dì, pútí sà pó hē."@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU Zhuangzi · Enjoyment in Untroubled Ease (九万里...)" ; write:description "This CWU is part of the performance which took place on the occasion of the \"Edge of The Earth\" - Asian Contemporary Art Invitation Exhibition (“De zhi yuan” - Yazhou dangdai yishu kaimu \"地之缘\" - 亚洲当代艺术開幕) held in Hangzhou, China, in November 2003. Wang Dongling wrote in cursive script some lines belonging to the first chapter of the Zhuangzi on propylene panels with white acrylic paint."@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 13 ; write:transcriptionAndTranslation "A height of ninety thousand li, far above the region of the clouds, with only the clear sky above it. And then it directs its flight towards the Southern Ocean"@en, "九万里，绝云气，负青天，然后图南"@zh, "九萬里，絕雲氣，負青天，然後圖南"@zh, "Jiǔ wàn lǐ, jué yúnqì, fù qīngtiān, ránhòu tú nán"@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 Ars divina (《点绛唇》) " ; write:description "This Calli-Writing Unit is a calligraphic inscription in the top-right corner of the artwork. It seems to be a Chinese traditional calligraphy written in a style between \"regular script\" (kaishu 楷书) and \"running or semi-cursive script\" (xingshu 行书), but it was not created using the classic tools of Chinese calligraphy: the writers employed spray cans instead of brushes; the ink is replaced by black spray paint; the support is a white wall, instead of paper. The text quoted in the calligraphy is the second stanza of an ancient poem entitled \"Rouged Lips\" (Dian Jiangchun 点绛唇). It was composed by Wang Yucheng 王禹偁 (954-1001), a famous poet/scholar of the Song dynasty (960-1279), during his exile in the South of the Empire, after being dismissed from his government position due to strong criticism against the policies of the time. In the poem, he expresses his sadness and despair, with nature becoming the mirror and voice of his deepest feelings: empathy with nature, pain for the unjust exile, pervasive loneliness and idyllic scenes are the central themes of the poem. These are recurrent themes in China’s lyric poetry of all times, and through this work they are revived in a fragment of contemporary urban art."@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf , ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 21 ; write:relatedUnit ; write:transcriptionAndTranslation """Afar a row of wild geese fly, \r Weaving a letter in the sky. \r What have I done in days gone by? \r Gazing from the balustrade, \r Could I weave my way as far as they?\r (Translator: Xu Yuanchong)\r """@en, """天际征鸿，\r 遥认行如缀。\r 平生事，\r 此时凝睇，\r 谁会凭栏意。\r """@zh, """Tiānjì zhēng hóng, \r yáo rèn háng rú zhuì. \r Píngshēng shì, \r cǐ shí níng dì, \r shéi huì pínglán yì."""@zh-Latn . a write:DecorativeAndAppliedArt ; wdt:P1071 ; wdt:P1476 "Drinking on West Lake First Shine After the Rain (饮湖上初晴后雨)"@en, "饮湖上初晴后雨"@zh, "Yǐn húshàng chū qíng hòu yǔ"@zh-Latn ; wdt:P180 ; wdt:P2048 "15 m" ; wdt:P2049 "33 m" ; wdt:P287 ; wdt:P462 , , ; wdt:P571 "2015-01-05"^^xsd:date ; wdt:P856 ; wdt:P88 ; wdt:P941 ; sch:thumbnailUrl ; write:description """In January 5, 2015 Wang Dongling collaborated with Apple to realize this huge calligraphic work for the opening of the Apple Store in Hangzhou near West Lake. The artwork represents a relevant example of the use of calligraphy for commercial purposes. The huge painting covers the exterior façade of the first and largest-in-Asia Apple retail store. In the white space around the red iconic Apple logo, the artist wrote the poem entitled "Drinking on West Lake first shine after the rain" by Su Shi 苏轼 (1037-1101), better known as Su Dongpo 苏东坡, an eminent poet of the Song dynasty (960-1279). The content of the poem praises the rich history of art and culture of the city of Hangzhou. Wang Dongling realized the draft of the work in a lower scale, using brush and ink on paper. This original calligraphic artwork was used as a model to realize the wall adornment of the Apple Store, incorporating the Apple logo in the middle. \r In this work, Chinese calligraphy highlights the essence of traditional culture, linked to poetry, literature and art; while the Apple logo embodies an American contemporary commercial empire, based on scientific and technological innovation. The fusion between the calligraphic inscription and the commercial logo shows the successful attempt by Wang Dongling and Apple to integrate technology, culture and modern cross-border trade exchanges in today's Cina. In this occasion, the black Apple logo changed to a vivid red to recall a Chinese traditional seal. The reason of this change is the intention to make the ultra-modern commercial products of the foreign brand more attractive to Chinese consumers. In the commercial video, Wang Dongling expresses his happyness "to reach many people by showing them the power of Chinese ideograms" (from Ink Studio website). According to Wang, the poem was the most suitable to praise the essence of ancient Chinese culture of the city of Hangzhou.\r After Wang Dongling's contribution, other traditional Chinese arts have been used as the subject of Apple's advertising campaigns in China. """@en ; write:hasChineseConcept ; write:hasChineseVisualElement ; write:hasColophon true ; write:hasOtherVisualElement ; write:hasDecorativeArtworkType ; write:hasSeal true ; write:hasUnit ; sch:image ; write:vectorisedOrDigitised true . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P21 ; wdt:P2561 "Chen Zijin 陈子劲" ; wdt:P27 ; wdt:P569 "1966-01"^^xsd:gYearMonth ; wdt:P856 ; wdt:P937 ; write:description """Chen Zijin (b. 1966) is Associate Professor at China Academy of Art ( CAA; Zhongguo Meishu Xueyuan) in Hangzhou, China. He is also an independent curator and Director and Chief Curator of the Sanshang Contemporary Art Museum (San shang dangdai yishu guan 三尚当代艺术馆). He was the person in charge of the 2016 National Art Fund-funded project.\r His main research fields include social aesthetic education and community public cultural service system construction, public art planning, book editing and design."""@en ; write:isCuratorOf , . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Decanter Ink: Hangzhou Cross-year Exhibition 2011-2012 / Wang Dongling Solo Exhibition (2011-2012杭州跨年展——醒墨 / 黑白至上：王冬龄)"@en, "2011-2012杭州跨年展——醒墨 /黑白至上：王冬龄"@zh, "2011-2012 Hángzhōu kuà nián zhǎn——xǐng mò / Hēibái zhìshàng: Wáng Dōnglíng"@zh-Latn ; wdt:P1640 ; wdt:P276 ; wdt:P580 "2012-05-13"^^xsd:date ; wdt:P582 "2012-05-23"^^xsd:date ; write:description """Wang Dongling Solo Exhibition is part of the exhibition cycle titled "Decanter Ink, Hangzhou Cross Year Exhibition 2011-2012" that was held at the Sanshang Contemporary Art Museum (San shang dangdai yishu guan 三尚当代艺术馆) in Hangzhou from December 19, 2011 to June 1, 2012. This exhibition cycle included solo exhibitions of six contemporary artists: Zhang Hao 张浩, Wang Tiande 王天德, Hua Jun 花俊, Guan Huaibin 管怀宾, Huang Jun 黄骏 and Wang Dongling 王冬龄.The Wang Dongling's Solo Exhibition (Heibai zhi shang / Wang Dongling 黑白至上/王冬龄) was held from May 13 to 23, 2012.\r """@en ; write:exhibitedArtwork , . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 ; wdt:P186 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Edward Weston's Heart Sutra A (《心经》)" ; write:description "This CWU is part of the artwork Edward Weston's Heart Sutra A. Wang Dongling distributes the characters of the Heart Sutra in the sandy background following the body lines of the female model Charis Wilson (1914-2009), main character of the photograph \"Nude on Sand, Ocean\" in black and white by Edward Weston (1886-1958)."@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:relatedUnit ; write:transcriptionAndTranslation """When Avalokiteshvara Bodhisattva was practicing the profound prajnaparamita, he illuminated the five skandhas and saw that they are all empty, and he crossed beyond all suffering and difficulty.\r Shariputra, form does not differ from emptiness; emptiness does not differ from form. Form itself is emptiness; emptiness itself is form. So, too, are feeling, cognition, formation, and consciousness.\r Shariputra, all dharmas are empty of characteristics. They are not produced. Not destroyed, not defiled, not pure, and they neither increase nor diminish.\r Therefore, in emptiness there is no form, feeling, cognition, formation, or consciousness; no eyes, ears, nose, tongue, body, or mind; no sights, sounds, smells, tastes, objects of touch, or dharmas; no field of the eyes, up to and including no field of mind-consciousness; and no ignorance or ending of ignorance, up to and including no old age and death or ending of old age and death. There is no suffering, no accumulating, no extinction, no way, and no understanding and no attaining.\r Because nothing is attained, the Bodhisattva, through reliance on prajna paramita, is unimpeded in his mind. Because there is no impediment, he is not afraid, and he leaves distorted dream-thinking far behind. Ultimately Nirvana!\r All Buddhas of the three periods of time attain Anuttarasamyaksambodhi through reliance on prajnaparamita. Therefore, know that prajna paramita is a great spiritual mantra, a great bright mantra, a supreme mantra, an unequaled mantra. It can remove all suffering; it is genuine and not false. That is why the mantra of prajna paramita was spoken. Recite it like this:\r Gate gate paragate parasamgate bodhi svaha!\r Gate gate paragate parasamgate bodhi svaha!\r Gate gate paragate parasamgate bodhi svaha!\r (Translator: Tang Dharma Master of the Tripitaka Hsüan)"""@en, " 觀自在菩薩，行深般若波羅蜜多時，照見五蘊皆空，度一切苦厄。舍利子！色不異空，空不異色；色即是空，空即是色，受想行識亦復如是。舍利子！是諸法空相，不生不滅，不垢不淨，不增不減。是故，空中無色，無受想行識；無眼耳鼻舌身意；無色聲香味觸法；無眼界，乃至無意識界；無無明，亦無無明盡，乃至無老死，亦無老死盡；無苦集滅道；無智亦無得。以無所得故，菩提薩埵。依般若波羅蜜多故，心無罣礙；無罣礙故，無有恐怖，遠離顛倒夢想，究竟涅槃。三世諸佛，依般若波羅蜜多故，得阿耨多羅三藐三菩提。故知：般若波羅蜜多是大神咒，是大明咒，是無上咒，是無等等咒，能除一切苦，真實不虛。故說般若波羅蜜多咒，即說咒曰：揭諦揭諦，波羅揭諦，波羅僧揭諦，菩提薩婆訶。"@zh, "观自在菩萨，行深般若波罗蜜多时，照见五蕴皆空，度一切苦厄。舍利子，色不异空，空不异色；色即是空，空即是色。受、想、行、识，亦复如是。舍利子，是诸法空相，不生不灭，不垢不净，不增不减，是故空中无色，无受、想、行、识；无眼、耳、鼻、舌、身、意；无色、声、香、味、触、法；无眼界，乃至无意识界；无无明，亦无无明尽；乃至无老死，亦无老死尽。无苦、集、灭、道，无智亦无得。以无所得故，菩提萨埵，依般若波罗蜜多故，心无罣碍。无罣碍故，无有恐怖，远离颠倒梦想，究竟涅槃。三世诸佛，依般若波罗蜜多故，得阿耨多罗三藐三菩提。故知般若波罗蜜多，是大神咒，是大明咒，是无上咒，是无等等咒，能除一切苦，真实不虚。故说般若波罗蜜多咒，即说咒曰：“揭谛、揭谛，波罗揭谛，波罗僧揭谛，菩提萨婆诃。"@zh, "Guān zìzài púsà, xíng shēn bōrě bōluómì duō shí, zhàojiàn wǔyùn jiē kōng, dù yīqiè kǔ è. Shèlì zi! Sè bù yì kōng, kōng bù yìsè; sèjíshìkōng, kōngjíshìsè, shòu xiǎng xíng shí yì fù rúshì. Shèlì zi! Shì zhū fǎ kōng xiāng, bù shēng bùmiè, bù gòu bù jìng, bù zēng bù jiǎn. Shì gù, kōngzhōng wúsè, wú shòu xiǎng xíng shí; wú yǎn ěrbí shé shēn yì; wúsè shēng xiāngwèi chù fǎ; wú yǎnjiè, nǎizhì wúyìshí jiè; wú wúmíng, yì wú wúmíng jǐn, nǎizhì wú lǎosǐ, yì wú lǎosǐ jǐn; wú kǔ jí miè dào; wú zhì yì wú dé. Yǐ wú suǒdé gù, pútí sà duǒ. Yī bōrě bōluómì duō gù, xīn wú guà ài; wú guà ài gù, wú yǒu kǒngbù, yuǎnlí diāndǎo mèngxiǎng, jiùjìng nièpán. Sānshì zhū fú, yī bōrě bōluómì duō gù, dé ā nòu duō luó sān miǎo sān pútí. Gùzhī: Bōrě bōluómì duō shì dàshén zhòu, shì dàmíng zhòu, shì wú shàng zhòu, shì wú děng děng zhòu, néng chú yīqiè kǔ, zhēnshí bù xū. Gù shuō bōrě bōluómì duō zhòu, jí shuō zhòu yuē: Jiē dì jiē dì, bō luó jiē dì, bō luó sēng jiē dì, pútí sà pó hē."@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 Edward Weston's Heart Sutra A (Nude on Sand, Oceano, 1936)" ; write:description "This CWU is composed of the title of the photo shooted by Edward Weston, followed by the place, the year and the name of the model \"Nude on Sand, Oceano, 1936\" [CHARIS WILSON]. On the right angle there is the page number (95) of the magazine, where the photo was reproduced."@en ; write:hasBackgroundColour ; write:hasCalligraphicLine false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:relatedUnit ; write:transcriptionAndTranslation "95", "Nude on Sand, Oceano, 1936 [CHARIS WILSON]"@en . a write:CalliWritingUnit ; wdt:P144 ; wdt:P1480 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Family Tree (《愚公移山》、夫人、禄、 福、 客人、吉....)" ; write:description """In the middle of artist's forehead, the text is "The Foolish Old Man Removes the Mountain (Yu Gong Yi Shan 愚公移山)". This traditional Chinese story is known by all common people, it is about determination and challenge. Other texts are about human fate. Most words derive from the ancient Chinese art of physiognomy, which seeks to map personality traits and divine the future based on one’s facial features. \r Other phrases are about human fate, like a kind of divination. Your eyes, nose, mouth, ears, cheekbone, and moles indicate your future, wealth, sex, disease, etc. Most words derive from the ancient Chinese art of physiognomy, which seeks to map personality traits and divine the future based on one’s facial features. For example, a line of characters marking the location of moles on his loweforehead includes those for "wife" (fu ren 夫人), "prosperity" (lu 禄), "good fortune" (fu 福), and "guest" (keren 客人), while on the bridge of his nose is the character for "auspicious" (ji 吉). But rather than elucidate Zhang’s character and fate, these traditional divinatory marks ultimately obscure his identity beneath a dense layer of culturally conditioned references."""@en ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 50 ; write:transcriptionAndTranslation """The Foolish Old Man Removes the Mountain\r wife \r prosperity\r good fortune\r guest\r auspicious\r """@en, """Yú Gōng Yí Shān\r fūrén \r lù \r fú \r kèrén \r jí\r """@en, """愚公移山\r 夫人\r 禄\r 福\r 客人\r 吉"""@zh . wd:Q10816 rdfs:label "sex toy" . wd:Q11474 rdfs:label "plastic" . wd:Q28472 rdfs:label "hair" . wd:Q5849500 rdfs:label "cloth" . rdfs:label "Writing & Women Calligraphers in East Asia" . rdfs:label "British Museum collection_Overturning the Mountains", "Overturning the Mountains (British Museum)" . rdfs:label "Echo Morgan - Official Website" . rdfs:label "Facebook account ABS crew" . rdfs:label "Flickr account Andc" . rdfs:label "Instagram account Andc" . rdfs:label "Instagram account ABS crew" . rdfs:label "Guangdong Modern Dance Company - Instagram Official Page" . rdfs:label "EricTin Instagram account " . rdfs:label "corporeality" . rdfs:label "duct tape" . rdfs:label "big-character poster" . rdfs:label "Daoism" . rdfs:label "divination" . rdfs:label "survival" . rdfs:label "cinnabar" . rdfs:label "astonishment" . rdfs:label "emoji" . rdfs:label "street cabinet" . rdfs:label "seal cutting" . rdfs:label "celadon" . rdfs:label "safety" . rdfs:label "Gabriele Amadori" . rdfs:label "Château Mouton Rothschild" . rdfs:label "resilience" . rdfs:label "roller shutter" . rdfs:label "color" . rdfs:label "cursive" . rdfs:label "Sangluan Tie" . rdfs:label "Ci" . rdfs:label "Zhou Shoujuan" . rdfs:label "diversity, equity, and inclusion" . rdfs:label "communication" . rdfs:label "femininity" . rdfs:label "woodblock plate" . rdfs:label "沁园春·雪" . rdfs:label "blue pigment" . rdfs:label "five parts of the world" . rdfs:label "gas" . rdfs:label "folding screen" . rdfs:label "Publicity Department of the Chinese Communist Party" . rdfs:label "interactive artwork" . rdfs:label "art and science" . rdfs:label "Precipitous Peak" . rdfs:label "make-up" . rdfs:label "Wudaokou" ; wdt:P625 "Point(116.32422222222222 39.99236111111111)"^^geosparql:wktLiteral . rdfs:label "The Peony Pavilion" . rdfs:label "silk fabric" . rdfs:label "continuity" . rdfs:label "Heaven‐Earth‐humanity" . rdfs:label "elegance" . rdfs:label "The Spell of the Sensuous" . rdfs:label "Junzi" . rdfs:label "seal script" . rdfs:label "discomfort" . rdfs:label "Olympic rings" . rdfs:label "rosewood" . rdfs:label "rubble" . rdfs:label "architecture" . rdfs:label "plant pigment" . rdfs:label "rebellion" . rdfs:label "environmental pollution" . rdfs:label "structural failure" . rdfs:label "utopia" . rdfs:label "self-awareness" . rdfs:label "torture" . rdfs:label "hemp fiber" . rdfs:label "plant stem" . rdfs:label "breath" . rdfs:label "growth" . rdfs:label "Chou Wen-chung" . rdfs:label "semi-cursive script" . rdfs:label "cuju" . rdfs:label "Arabic" . rdfs:label "retrospective" . rdfs:label "infinity" . rdfs:label "Lake Tai" ; wdt:P625 "Point(120.15 31.166666666667)"^^geosparql:wktLiteral . rdfs:label "light art" . rdfs:label "corrugated sheet metal" . rdfs:label "worry" . rdfs:label "United Kingdom" ; wdt:P625 "Point(-2 54.6)"^^geosparql:wktLiteral . rdfs:label "Viola" . rdfs:label "flag" . rdfs:label "chalk stick" . rdfs:label "mental illness" . rdfs:label "asemic writing" . rdfs:label "Guangdong" ; wdt:P625 "Point(113.5 23.4)"^^geosparql:wktLiteral . rdfs:label "Interculturality" . rdfs:label "sinologist" . rdfs:label "landfill" . rdfs:label "anxiety" . rdfs:label "cigarette" . rdfs:label "Russia" ; wdt:P625 "Point(94.25 66.41666666666667)"^^geosparql:wktLiteral . rdfs:label "urbanization" . rdfs:label "inscription" . rdfs:label "dust" . rdfs:label "reflection" . rdfs:label "organza" . rdfs:label "sadness" . rdfs:label "mud" . rdfs:label "virtual reality" . rdfs:label "coral" . rdfs:label "Dresden" ; wdt:P625 "Point(13.7381437 51.0493286)"^^geosparql:wktLiteral . rdfs:label "authority" . rdfs:label "tempera" . rdfs:label "abstract expressionism" . rdfs:label "sidewalk" . rdfs:label "aria" . rdfs:label "Lhasa River" ; wdt:P625 "Point(90.760555555556 29.340833333333)"^^geosparql:wktLiteral . rdfs:label "hegemony" . rdfs:label "seawater" . rdfs:label "drop" . rdfs:label "tattoo artist" . rdfs:label "Drinking Alone Beneath the Moon" . rdfs:label "ritual" . rdfs:label "youth" . rdfs:label "Tao" . rdfs:label "puppet" . rdfs:label "regeneration" . rdfs:label "Mountains May Depart" . rdfs:label "Zhao Mengfu" . rdfs:label "Bopomofo" . rdfs:label "destroyed building or structure" . rdfs:label "wealth" . rdfs:label "Renaissance music" . rdfs:label "alter ego" . rdfs:label "thorn" . rdfs:label "industrialization" . rdfs:label "flight" . rdfs:label "Apple Pencil" . rdfs:label "England" ; wdt:P625 "Point(-1 53)"^^geosparql:wktLiteral . rdfs:label "meeting" . rdfs:label "voile" . rdfs:label "Mount Tai" . rdfs:label "Tai'an" ; wdt:P625 "Point(117.0809 36.2001)"^^geosparql:wktLiteral . rdfs:label "fine art" . rdfs:label "brightness" . rdfs:label "Testudines" . rdfs:label "lace" . rdfs:label "world peace" . rdfs:label "injection" . rdfs:label "people" . rdfs:label "Tibetan sovereignty debate" . rdfs:label "Paralympic athlete" . rdfs:label "overlying stratum" . rdfs:label "conceptual model" . rdfs:label "Standard Taiwanese Mandarin" . rdfs:label "underground culture" . rdfs:label "untranslatability" . rdfs:label "Roy G. Biv" . rdfs:label "plaster" . rdfs:label "Analects" . rdfs:label "pillar" . rdfs:label "breakthrough" . rdfs:label "Charis Wilson" . rdfs:label "deer" . rdfs:label "湘月 (天風吹我)" . rdfs:label "gestural painting" . rdfs:label "visibility" . rdfs:label "health care" . rdfs:label "Sydney" ; wdt:P625 "Point(151.21 -33.867777777777775)"^^geosparql:wktLiteral . rdfs:label "cerulean" . rdfs:label "language" . rdfs:label "light jade" . rdfs:label "race" . rdfs:label "demolition" . rdfs:label "mindfulness" . rdfs:label "sand" . rdfs:label "dark blue" . rdfs:label "Ca' dei Carraresi" ; wdt:P625 "Point(12.2475813 45.6664682)"^^geosparql:wktLiteral . rdfs:label "Cologne" ; wdt:P625 "Point(6.9577777777778 50.942222222222)"^^geosparql:wktLiteral . rdfs:label "visual arts" . rdfs:label "georgette" . rdfs:label "face" . rdfs:label "writing" . rdfs:label "sky blue" . rdfs:label "army" . rdfs:label "algae" . rdfs:label "cooperation" . rdfs:label "shamanic music" . rdfs:label "Ode to the West Wind" . rdfs:label "tagging" . rdfs:label "river" . rdfs:label "instability" . rdfs:label "cross" . rdfs:label "psychological resilience" . rdfs:label "magazine" . rdfs:label "Linz" ; wdt:P625 "Point(14.286388888888888 48.30583333333333)"^^geosparql:wktLiteral . rdfs:label "universal language" . rdfs:label "autobiography" . rdfs:label "pinyin" . rdfs:label "action art" . rdfs:label "canvas" . rdfs:label "Shaoxing" ; wdt:P625 "Point(120.58333333333 30)"^^geosparql:wktLiteral . rdfs:label "Cubism" . rdfs:label "architect" . rdfs:label "talisman" . rdfs:label "3D reconstruction" . rdfs:label "cement" . rdfs:label "transformation" . rdfs:label "Lu Zhaolin" . rdfs:label "Classic of Poetry" . rdfs:label "plasticity" . rdfs:label "Nike" . rdfs:label "memory" . rdfs:label "human" . rdfs:label "path" . rdfs:label "fuchsia" . rdfs:label "glue" . rdfs:label "escape" . rdfs:label "journey" . rdfs:label "shan shui" . rdfs:label "youth and old age" . rdfs:label "star" . rdfs:label "mind–body dualism" . rdfs:label "beginning" . rdfs:label "ego death" . rdfs:label "night" . rdfs:label "prajñāpāramitā sutra" . rdfs:label "Zhoushan" ; wdt:P625 "Point(122.20488 29.98869)"^^geosparql:wktLiteral . rdfs:label "philosophy" . rdfs:label "human figure" . rdfs:label "indigo" . rdfs:label "solitude" . rdfs:label "body painting" . rdfs:label "incineration" . rdfs:label "desolation" . rdfs:label "Wang Ximeng" ; wdt:P800 . rdfs:label "jade" . rdfs:label "Brooklyn" ; wdt:P625 "Point(-71.9542 41.7899)"^^geosparql:wktLiteral . rdfs:label "guitar" . rdfs:label "lockdown" . rdfs:label "pipa" . rdfs:label "magnification" . rdfs:label "Li Sao" . rdfs:label "emptiness" . rdfs:label "light yellow" . rdfs:label "ribbon" . rdfs:label "Orchid Pavilion Gathering" . rdfs:label "Zheng Xie" . rdfs:label "dark grey" . rdfs:label "light brown" . rdfs:label "Guan Yin" . rdfs:label "plastic pollution" . rdfs:label "erhu" . rdfs:label "Asian Art Museum of San Francisco" . rdfs:label "Yellow River" . rdfs:label "mourning" . rdfs:label "copper" . rdfs:label "snow" . rdfs:label "development" . rdfs:label "bubble" . rdfs:label "Three perfections" . rdfs:label "Thriving" . rdfs:label "rights" . rdfs:label "cropping" . rdfs:label "vitality" . rdfs:label "global warming" . rdfs:label "motion" . rdfs:label "expressionism" . rdfs:label "banner" . rdfs:label "wind" . rdfs:label "pixel art" . rdfs:label "literature" . rdfs:label "heart" . rdfs:label "clarinet" . rdfs:label "Baroque music" . rdfs:label "Central Academy of Fine Arts" . rdfs:label "masturbation" . rdfs:label "physiognomy" . rdfs:label "incense stick" . rdfs:label "society" . rdfs:label "COVID-19" . rdfs:label "family" . rdfs:label "human rights" . rdfs:label "mannequin" . rdfs:label "Li He" . rdfs:label "visual culture" . rdfs:label "buzzing" . rdfs:label "Tong Yang-tze" . rdfs:label "hessian fabric" . rdfs:label "San Francisco Museum of Modern Art" ; wdt:P625 "Point(-122.401051 37.785718)"^^geosparql:wktLiteral . rdfs:label "Korean" . rdfs:label "depth" . rdfs:label "joy" . rdfs:label "reality" . rdfs:label "paper lantern" . rdfs:label "Information Age" . rdfs:label "Lanting Xu" . rdfs:label "fatigue" . rdfs:label "vessel" . rdfs:label "classical music" . rdfs:label "glaze" . rdfs:label "carving" . rdfs:label "rejection" . rdfs:label "Design studio" . rdfs:label "Brand company" . rdfs:label "Excerpt of the Video \"The Character of Characters\"" . rdfs:label "art for festival" . rdfs:label "bafen clerical script" . rdfs:label "bamboo painting" . rdfs:label "buddhism" . rdfs:label "chan" . rdfs:label "Chinese ceramics" . rdfs:label "cloud and mist" . rdfs:label "dragon" . rdfs:label "green celadon vase" . rdfs:label "handscroll" . rdfs:label "hard-tipped calligraphy" . rdfs:label "landscape painting" . rdfs:label "memorial art" . rdfs:label "private commissioned art (commercial)" . rdfs:label "taijitu" . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Xu Jiang 许江" ; wdt:P27 ; wdt:P569 "1955-08"^^xsd:gYearMonth ; wdt:P812 ; wdt:P856 ; wdt:P937 ; write:description "Xu Jiang is president, professor, and doctoral advisor of the China Academy of Art; vice chairman of the China Artists Association; vice chairman of the China Oil Painting Association; chairman of the Zhejiang Federation of Literary and Art Circles; and chairman of the Zhejiang Artists’ Association. He writes extensively on art. Xu Jiang graduated from the Department of oil painting at the China National Academy of Art in 1982, and later studied in Hamburg, Germany. "@en ; write:hasWikidataResource ; write:isCuratorOf , . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Fan Di'an 范迪安" ; wdt:P27 ; wdt:P569 "1955"^^xsd:gYear ; wdt:P812 ; wdt:P937 , ; write:description """Fan Di'an is the former Director (2005–2014) of National Art Museum of China (NAMOC), Beijing, and Director of the China Artists Association (Zhongguo meishujia xiehui 中国美术家协会) since 2014. Fan curated a wide range of exhibitions in institutions in China and around the world showcasing various aspects of Chinese art, from traditional to contemporary. These exhibitions often explored themes such as cultural identity, societal change, and artistic innovation.\r """@en ; write:hasCalligraphicTraining "Not present"@en ; write:hasWikidataResource ; write:isCuratorOf , . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Zheng Shengtian 郑胜天" ; wdt:P27 ; wdt:P569 "1939-01-24"^^xsd:date ; wdt:P812 ; wdt:P937 , ; write:description "Zheng Shengtian is an artist, scholar and curator. He is one of the founders and chief curators of the academic journal \"Yishu: Journal of Contemporary Chinese Art\". Zheng Shengtian is also director of the Asian Pavilion of the Vancouver Art Gallery, director of the Asian Art Archive in America. He was the director of the Oil Painting Department of Zhejiang Academy of Fine Arts. After moving to Canada in 1990, he served as President of the Vancouver Chinese Artists Association, Secretary General of the Leung Kit Wah Art Foundation (Liang Jie Hua Yishu Jixinhui 梁洁华艺术基金会) founded in Vancouver in 1997, and Founding Director of the Vancouver International Centre for Contemporary Asian Art . He has curated important exhibitions such as \"Shanghai Modern\", \"Art and Chinese Revolution\", \"The Wind Rises in Fusang\", as well as the Shanghai and Vancouver Biennales."@en ; write:hasCalligraphicTraining "Not present"@en ; write:hasWikidataResource ; write:isCuratorOf , , . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Facsimile Wang Xizhi (摹写王羲之)"@en, "摹写王羲之"@zh, "Móxiě Wáng Xīzhī"@zh-Latn ; wdt:P170 ; wdt:P180 , ; wdt:P186 , ; wdt:P2048 "365 cm" ; wdt:P2049 "145 cm" ; wdt:P462 , , ; wdt:P571 "2004"^^xsd:gYear ; wdt:P608 ; wdt:P941 ; write:description """This visual artwork was realized by Chen Guangwu in 2004 and exhibited on several occasions, such as at the "Boundary of Freedom - Chinese Contemporary Ink towards Europe" (Ziyou de chidu - Zhongguo dangdai shuimo zouxiang Ouzhou 自由的尺度”第五回——中国当代水墨走向欧洲) exhibition held at Ca' dei Carraresi, Treviso, in 2018. \r “Facsimile Wang Xizhi” exemplifies Chen Guangwu's commitment to emulating the fluidity and continuity of Chinese characters, conveying them as "visual poetry". By maintaining a continuous line throughout the composition, he captures the essence of Chinese script, which is often perceived as both artistic and poetic. By prioritizing aesthetics over semantics, Chen Guangwu elevates the beauty and form of the characters, therefore he praises the beauty and form of the characters, transcending their literal meaning. Chen Guangwu's dedication to replicate and reinterpret the style and essence (fluidity, rhythm, and grace) of Wang Xizhi's calligraphy within a contemporary context. """@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1343 """Ochs, Alexader (ed. by), Chen Guangwu: Minimal Oriental or The Great Learning, \r Exhibition catalogue (Berlin, Alexander Ochs Galleries, July 1st - October 5th, 2008), Berlin, Alexander Ochs Galleries, 2009"""@en ; wdt:P1476 "Preface to the Poems Composed at the Orchid Pavilion (再序兰亭)"@en, "再序兰亭"@zh, "Zài xù Lántíng"@zh-Latn ; wdt:P170 ; wdt:P180 , ; wdt:P186 , ; wdt:P2048 "98 cm" ; wdt:P2049 "253 cm" ; wdt:P2610 "9 cm" ; wdt:P462 , ; wdt:P571 "2008"^^xsd:gYear ; wdt:P608 ; wdt:P941 ; write:description "Preface to the Poems Composed at the Orchid Pavilion was realized by Chen Guangwu in 2008. This artwork provides an example of his interactive piece made of a disassemblable and reassemblable puzzle consisting of 2700 wooden blocks, onto which Chen transcribed the the most undisputed classic in the history of Chinese calligraphy, the 'Preface to the Orchid Pavilion Gathering', written by Wang Xizhi in 353. This reinvention and reinterpretation in a modern context of Wang Xizhi's famous piece transforms the artwork into an interactive game that captivates the audience, notably the Western audience (as the exhibition is held in Berlin). It serves as an introduction to the contemplation and manipulation of the calligraphic line, challenging viewers to reconstruct its unity without prior knowledge of the underlying meaning or the writing that inspired it (Iezzi 2014, p. 440)."@en ; write:hasVisualArtworkType , , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Combinations: Balls of Characters (字球组合)"@en, "字球组合"@zh, "Zìqiú zǔhé"@zh-Latn ; wdt:P170 ; wdt:P180 , , , ; wdt:P186 , , ; wdt:P2048 "1 m" ; wdt:P2049 "1.2 m" ; wdt:P462 , ; wdt:P571 "1992"^^xsd:gYear ; wdt:P608 ; wdt:P941 ; sch:thumbnailUrl ; write:description "Influenced by the arguments put forth by the French philosopher and critic Jacques Derrida, who advocated for the complete deconstruction and reassembly of conventional structures, Wang Nanming swiftly recognized that his habit of crumpling sheets of paper into tight balls whenever dissatisfied with his work during calligraphy practice symbolized the myriad contradictions inherent in calligraphy itself. Viewing these discarded paper balls as emblematic of the negative aspects of Chinese culture, Wang found in them a compelling visual and conceptual form. His act of crumpling and discarding sheets of work became a performative gesture of refusal. Since 1992, Wang Nanming began transforming his Balls of Characters (Ziqiu 字球) into Combinations: Balls of Characters (Ziqiu zuhe 字球组合), with which he has been creating various objects such as chairs, sofas, and tables. This artistic evolution served as his protest against what he perceived as the superficiality of mass culture in contemporary China."@en ; write:hasVisualArtworkType , , ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q1400264 ; wdt:P2561 "OOPS crew" ; wdt:P276 , ; wdt:P571 "2007"^^xsd:gYear ; wdt:P800 ; wdt:P856 ; write:description """The crew was founded on a blog in 2007 by Jin Ye (Hu(r)ri, Read or Hali), Reign (or Lame), Snow and Tin.G. The birth of the OOPS crew on a blog demonstrates the importance of the Internet for Chinese writers, as the four members did not meet directly on the street. Actually, the crew has hosted other members over the years, including two European artists: Moon, Aekone (a.k.a. Aek, from Yangzhou), Redim, Kite (from Guangxi); and Diase (Italian writer) and Storm (French writer). This highlights how there are many foreign writers operating in China who actively collaborate with Chinese crews and writers, contaminating both themselves and each other.\r The OOPS crew is the most famous and influential crew in Shanghai. It combines the Western graffiti art movement with the Chinese artistic and cultural tradition, using characters, calligraphy and ancient Chinese symbols, and represents the cosmopolitan / transcultural and transnational trends in Shanghai. In terms of style, the OOPS crew’s pieces refer to the Euro-American tradition, using, specifically, wildstyle with 3D effects, often enriched by a background or figurative elements from the Chinese painting tradition.\r "The crew cultivates varying perceptions and self-identities in their work, but they are as a whole known for their elaborate pieces combining alphabets, Chinese writing and characters. Currently, many of the local members are occupied by their everyday work and seldom have time to paint" (Valjakka 2016, 363).\r One of the most important members of the crew is Tin.G, the only female writer of the crew. She is one of the most acclaimed female writers in the country, who represents the new post-graffiti trend through the adhesion to hip hop culture, visual propaganda of her stickers, evolution of her puppets in open-air illustrations. While not using characters, Tin.G includes elements of Chinese culture in her pieces."""@en ; write:hasArtisticCollectiveType . a write:DecorativeAndAppliedArt ; wdt:P1071 ; wdt:P1476 "Peace (和气 )"@en, " 和气 "@zh, "Héqì"@zh-Latn ; wdt:P180 ; wdt:P186 , ; wdt:P287 , ; wdt:P462 , ; wdt:P571 "2010"^^xsd:gYear ; sch:thumbnailUrl ; write:description """With the artwork "Peace (Heqi 和气)", the Kwanyin Clan creates a modern version of the iconic blue and white Chinese porcelain, combining a traditional type of art with contemporary graffiti writing techniques. \r From 2009 to 2010, the Kwanyin Clan created a series dedicated to blue and white porcelain experimenting with the use of innovative media. The crew transposes graffiti art styles and techniques onto artefacts of diverse and extremely unique shapes (plates, vases and brush pots) through traditional cobalt blue decorations.\r For instance, in the piece "Peace (Heqi 和气)", Nat used a blue marker to write, in wildstyle, the two characters of the title "Heqi 和气" on a white porcelain plate, with arrows and zigzagging lines that perfectly combine a traditional approach with contemporary execution. \r For the Kwanyin Clan using Chinese characters in graffiti form as decorative motifs for porcelain artefacts means experimenting with new patterns of decoration. Since the motifs used in porcelain are rather standardized and most of them are not compatible with today’s aesthetic models, they tried to create new ones. It was simply a matter of changing the support material for the writing piece: resorting to porcelain added a further oriental and traditional touch to their style, which, however, remains unchanged. In this specific case, the choice of Heqi 和气 characters stemmed from the fact that decorative motifs in Chinese artistic handicrafts are always linked to auspicious and good luck messages, so they chose to focus the piece on these two characters. Indeed, they are present in a chengyu used as a wish of happiness, which reads "Heqi shengcai 和气生财" (Amiability begets riches).\r The Chinese elements in this work are numerous: blue and white porcelain, Chinese characters, the chengyu inspiration for the title, its auspicious meaning, the decorative “clouds pattern” (yunwen 云纹), and the "wave-like pattern" (langwen 浪纹, also known as pingshui 平水), a design motif of the “turbulent ocean waves” symbolizing fluidity and the power of nature. All the elements are transposed in a modern key. This series is one of the preeminent examples of the Kwanyin Clan experimental power expressed by reworking traditional patterns. """@en ; write:hasChineseVisualElement , , ; write:hasColophon true ; write:hasDecorativeArtworkType , , ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 , ; wdt:P282 , ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Luo Qi and Collegium Musicum Almae Matris - Musicalligraphy Performance (signs)" ; write:description "This CWU is an original transcription of the Italian opera arias played by the Collegium Musicum Almae Matris written by Luo Qi using the Dunhuang musical score system (Dunhuang qupu 敦煌曲谱). This ancient music notation system consists of 20 tablature-signs, which represent the tablature notations for the four-stringed Tang dynasty pipa (Chinese lute), indicating finger positions and their corresponding pitches. These symbols are simple characters (six are Chinese numerals), radicals or character components/parts. The text is composed of a series of signs derived from the Dunhuang musical score system."@en ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image ; write:isUnitOf , ; write:madeUsingTool ; write:relatedUnit . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , , , ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Broken Celadon (观音)" ; write:description "This Calli-Writing Unit is the elaborate wildstyle charactering \"GuanYin 观音\" inside the ceramic vase glazed in jade green celadon color placed in the center of the composition. The explosive force of this elaborate wildstyle charactering pushes onto the thin walls of the vase and disintegrates it, representing the forces of modernity - embodied by the Kwanyin Clan - that break and overcomes tradition. The vase recalls the Jun-type celadons made in China during the Song Dynasty (960 - 1279), considered one of the finest forms of Chinese art. "@en ; write:directionality "Free", "Unidentifiable" ; write:hasBackgroundColour , ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine false ; write:hasColophon false ; write:hasGraffitiStyle , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:relatedUnit , ; write:transcriptionAndTranslation "Avalokiteśvara"@en, "观音"@zh, "Guānyīn"@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 Broken Celadon (观过知仁)" ; write:description "This Calli-Writing Unit is a vertical calligraphic inscription in the lower right-hand corner of the composition. It is a chengyu written in running style (xingshu 行书). This chengyu, that is taken from the Analects of Confucius, states that \"observing a person's failings you know what he really is\" (guanguozhiren 观过知仁), that seems to be personal and artistic admonishment made by the crew. i) With regard to the personal sphere, the smashed vase represents the person's faults and failing: when the person's thin 'glaze' is smashed, one can show his real nature and change his old habits. ii) With regard to the artistic sphere, the content of the vase represents the real nature of the Kwanyin Clan's art (graffiti), while the traditional art is only its cover (the glaze of the vase): when the power of graffiti smashes that cover, the traditional influences will be transformed into modern art. "@en ; write:directionality "Traditional" ; write:hasBackgroundColour , ; write:hasBigCharactersCalligraphy true ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:relatedUnit , ; write:transcriptionAndTranslation "Observing a person's failings you know what he really is"@en, "觀過知仁"@zh, "观过知仁"@zh, """Guānguò zhīrén\r """@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 , ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 3 Broken Celadon (泮林革音 + seal)" ; write:description """This Calli-Writing Unit is a vertical calligraphic inscription in the lower right-hand corner of the composition. It is a chengyu written in running style (xingshu 行书) and it originates from "Pan shui 泮水" a poem from "The Book of Songs" (Shijing 诗经), China's earliest anthology of poetry. "Pan shui 泮水" is a long narrative poem that extols the military achievements of Duke Xi of Lu in pacifying the Huaiyi tribes. It praises his ability to carry on his ancestors' legacy, subdue the Huaiyi, and accomplish military feats. The poem is composed of eight chapters, each containing eight lines. \r The chengyu "panlingeyin 泮林革音" affirms that "when we receive positive influences, we can change our old habits" , that seems to be an artistic admonishment made by the crew. The content of the vase represents the real nature of the Kwanyin Clan's art (graffiti), while the traditional art is only its cover (the glaze of the vase): when the power of graffiti smashes that cover, the traditional influences will be transformed into modern art. \r As usual in traditional calligraphy, next to the calligraphic inscription there is a seal with the name of the crew (KWAN YIN), but opposite to the traditional canons, the seal is in Latin letters and not in archaic characters. """@en ; write:directionality "Traditional" ; write:hasBackgroundColour , ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:relatedUnit , ; write:transcriptionAndTranslation "Changing old habits under the influence of a good influence"@en, "泮林革音"@zh, """Pànlíngéyīn\r """@zh-Latn . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 , ; wdt:P407 ; wdt:P462 , ; wdt:P9302 , ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Olympic Beijing (中国奥运 + seals)" ; write:description """This Calli-Writing Unit is composed of four traditional Chinese characters "Zhongguo Aoyun 中國奧運" that stands for "China Olympic Games". The red characters are written in traditional form and regular script (kaishu 楷书) from left to right and top-to-buttom. They are placed inside a red frame with a double outline, recalling a modern-day seal. \r Under this frame, there are three black seal/tags: \r 1. the official logo of the Beijing Olympic Games that is the stylized shape of a human being, originated from the character "Jing 京 (capital)", in reference to the city of Beijing. Differently from the official red logo, this one has a black background;\r 2. the tag "Kwanyin" in Latin letters;\r 3. the non-simplified Chinese tag "guan 觀"."""@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:relatedUnit , ; write:transcriptionAndTranslation "Capital"@en, "China Olympic Games"@en, "Kwan (tag: Kwanyin)"@en, "中国奥运"@zh, "中國奧運"@zh, "京"@zh, "觀"@zh, "观"@zh, "Guān"@zh-Latn, "Jīng"@zh-Latn, """Zhōngguó àoyùn\r """@zh-Latn . a write:CalliWritingUnit ; wdt:P1480 ; wdt:P186 , ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 Olympic Beijing (lines)" ; write:description """This Calli-Writing Unit is the inscription located in the upper right-hand corner of the graffiti artwork "Olympic Beijing". It is a long calligraphy composed of 36 columns of "pseudo-Chinese-characters" written in a highly stenographic cursive style (caoshu 草书), where the strokes of the characters sometimes merge, impairing their recognizability. The written text is therefore unreadable because these "pseudo-Chinese-characters" have no actual meaning. According to EricTin: "It's akin to how people today might see large sections of text but lack the patience to decipher their meaning" (interview 2024). The text is arranged in vertical columns to be "read" from right to left and from top to bottom, as is customary in classical Chinese, and is enhanced by a pronounced dripping effect that simulates ink drippings on paper.\r The cursive calligraphic style, the variation in stroke width, the vertical arrangement of the text (from top to bottom), and the reading direction (from right to left) adhere to traditional calligraphic conventions and evoke the strict rules of traditional Chinese calligraphy. However, the widespread dripping effect underscores the graffiti aesthetic. """@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 150 ; write:relatedUnit , . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 3 Olympic Beijing (观音)" ; write:description "This Calli-Writing Unit is written in \"big characters\" (dazi 大字) and in regular-running script (xingkai 行楷). This CWU is composed of only two traditional Chinese characters \"Guan Yin 觀音\", the Chinese name of the crew, that are written vertically (from top to bottom), as usual in Chinese calligraphic works. In the two big characters, the variation of the width of the strokes produced by a skillful use of the spray-painting is a contemporary expedient to create the illusion of being in front of a classical calligraphy written with the ink brush. It is very significant that around the characters there are bamboo and mist, as in the Chinese painting tradition."@en ; write:directionality "Traditional" ; write:hasBackgroundColour , ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:relatedUnit , ; write:transcriptionAndTranslation "Avalokiteśvara"@en, " 觀音"@zh, "观音"@zh, " Guānyīn"@zh-Latn . a wd:Q17514 ; wdt:P1476 "Society (社会)"@en, "社会"@zh, "Shèhuì"@zh-Latn ; wdt:P170 ; wdt:P180 ; wdt:P186 , ; wdt:P276 , ; wdt:P462 , , , , , ; wdt:P571 "2005"^^xsd:gYear ; wdt:P6375 "Wudaokou (五道口 ), Haidian District of north western Beijing. "@en ; sch:thumbnailUrl ; write:description """In this artwork, Li Qiuqiu painted the head of a black man on the left, his tag 0528 in the middle, and the two characters of his brand Shehui 社会 (Society) on the left. The puppet depicted is typical of the initial stage of his career, when he used to draw enormous heads of men with half-closed eyes, full lips, a snub nose, sometimes with sunglasses and a bald head or with the features of a man of colour. The style is always caricature-like, and the idea behind these big heads probably comes from the giant profiles used by Zhang Dali in his series “Dialogue and Demolition”. Li Qiuqiu himself admits that Zhang Dali was somehow an influence for his art, together with other street artists like Banksy, Bonzai, Hobey, Kobra and Chinaman (interview ..). As for the structure of this work, we can see the tag 0528 in the middle, rendered in 3D style with blue and light blue double depths and no fill-in. The tag is stroked by the large hand of the curly-haired character on the left, introducing a sense of continuity between these two elements. The colouring and the sinuous progression of the writing evoke sea waves, and the drips under the number recall an aquatic atmosphere. It is not by chance that the two Chinese characters on the right stand out on a background of blue bubbles, the same colour as the writing: the fill-in is light blue, the outline is white, and the depths are blue. Through the marine atmosphere, Li Qiuqiu seems to disclose a world in which everything – waves, bubbles, architecture, walls, street art – is fluid and fleeting, while also granting a touch of liveliness to the composition, as we occasionally find in his graffiti. \r The work was created in Wudaokou, one of the most international and graffiti-rich neighborhoods in Beijing, on the enclosing walls of a residential area that isolate it from the rest of the neighborhood, like a ghetto markedly separating the wealthy from the rest of the population. The place was not chosen randomly, but obviously hides an underlying social criticism. \r The writing style used for the Chinese characters is geometric and reminiscent of “regular script” (kaishu 楷书), an easily intelligible calligraphic style where each stroke is distinct and discernible. """@en ; write:hasChengyu false ; write:hasColophon false ; write:hasGraffitiGenre , ; write:hasGraffitiStyle , , ; write:hasGraffitiType , ; write:hasOtherVisualElement , , ; write:hasSeal false ; write:hasUnit , ; sch:image ; write:madeUsingTool . a wd:Q17514 ; wdt:P1476 "My way of playing basketball is born in the street (我的篮球由街头打造)"@en, "我的篮球由街头打造"@zh, "Wǒ de lánqiú yóu jiētóu dǎzào"@zh-Latn ; wdt:P170 , ; wdt:P180 , , ; wdt:P186 , ; wdt:P2048 "10 m"@en ; wdt:P2049 "3 m"@en ; wdt:P276 ; wdt:P462 , , , , , , , , ; wdt:P571 "2007"^^xsd:gYear ; wdt:P6375 "Beijing, Dongcheng District, Dongsi"@en ; wdt:P88 ; sch:thumbnailUrl ; write:description "This is the most famous artwork among the crew’s commercial pieces and it was created in 2007 for Nike. At the time of its creation, it was the tallest graffiti piece in China: 10 meters high and 3.15 meters wide. It took Soos, 0528 and More two days to complete, and they only employed spray cans for its creation. Here we find an inscription in Chinese characters, together with a figure with Chinese somatic features and traditional Chinese decorative architectural elements. The work is thus close to a manifesto of the search for “Chineseness” that the crew’s works strive for. The inscription in Chinese characters can be found in the top section of the piece and stands as its title: Wo de lanqiu you jietou dazao 我的篮球由街头打造 (My way of playing basketball is born in the street). It recalls the underground street culture of New York’s inner city and of Chinese cities, where playing basketball is a way to hang out with friends. The inscription sets out to connect the place where graffiti art was born, the USA, to the place where it is now developing, China, while obviously referencing the sport that is the subject of the commercial advertising requested by Nike. The characters are written in 3D style, the fill-in color is red with beige inlays, decorations and underlines, and the outline is white with dark green depths. This triumph of colors and decorations underlines the sense of light-heartedness with which the piece is imbued. The writing style is rounded and playful, calling to mind the idea of leisure associated with the theme of the graffiti. In the lower part of the piece, a puppet represents a basketball player intent on juggling the ball in the street. He is wearing a pair of dark glasses and a cap slung backwards, which make us think of an outdoor game. His hip-hop look seems to bring him very close to the creators of the piece, but the extremely large hands with which he catches the ball, on which the Nike logo is clearly visible, are a good reminder of the purpose of the work and its commissioner. The outdoor setting is also highlighted by the purple background, over which the player stands out. The skyline is an ancient Chinese city with pagoda roofs and a temple in the middle, a distinctive element of the work of 0528. The whole piece is executed in a very captivating cartoon style. The graffiti is framed by a vine full of yellow buds, which is a recurring element in Soos’ works and his second signature. Inside one of these buds, right in the center of the work, stands the inscription “Nike” and, below it, the three tags of the authors of the piece (0528, Soos and More) and that of BJPZ. The piece was created on a panel installed on the outside wall of a Yaxin shop selling branded Nike products in China. The shop is located in Dongsi, in the city center near the Forbidden City, and represents one of the sanctuaries of sportswear in the capital. Right beside the shop stands a KFC (Kentucky Fried Chicken), the American fast-food chain restaurant specialized in fried chicken, which is very popular in China. Although some might disapprove of it, the location chosen by BJPZ is an emblem of the American-style Chinese consumerism typical of our times. Graffiti, born to fight this kind of inequality-generating society, here integrates to perfection with the surroundings, even becoming an unexpected catalyzer and promoter of a hyper-consumerist and disengaged society. There appears to be an inherent contradiction; so why? What lies behind the need to make such graffiti? When the crew is asked why they commit to this kind of commercial activity, they answer that this is the only way to earn money to be reinvested on the streets. The crew uses their earnings to buy spray cans for their favorite activity: bombing the streets of Beijing at night."@en ; write:hasChengyu false ; write:hasChineseVisualElement , ; write:hasColophon true ; write:hasGraffitiGenre ; write:hasGraffitiStyle , , , , ; write:hasGraffitiType , ; write:hasOtherVisualElement , , ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q17514 ; wdt:P1476 "R.I.P. 512 Sichuan Earthquake"@en ; wdt:P170 , ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P276 ; wdt:P462 , , , , ; wdt:P571 "2008-05-20"^^xsd:date ; wdt:P6375 """Renmin University of China (RUC; 中国人民大学), Beijing.\r No.59 Zhongguancun Street, Haidian district, Beijing."""@en ; sch:thumbnailUrl ; write:description "In 2008, the Beijing Penzi crew created the artwork entitled “R.I.P. 512 Sichuan Earthquake” in memory of the Sichuan earthquake victims. It was painted on one of the outer fencing walls of Renmin University, one of the most important halls of fame in Beijing, by Soos, 0528 and More, to commemorate the victims of the devastating earthquake which occurred in the Sichuan region (north-western China) on 12 May 2008, causing around 70,000 deaths. The acronym R.I.P. in the title of the work means “Rest in Peace”, a farewell from the crew to those who died in the tragedy. The work is composed of a portion with Chinese characters on the left, in which a chengyu (a four-character idiomatic phrase) reads Zhongzhichengcheng 众 支（志）成城 (Unity is Strength). This is an incitement not to be discouraged even in the darkest moments, but to work together to face the immense catastrophe and find the strength to recover. The four characters composing the chengyu fade from red to yellow on a black background, and their style resembles the running or semi-cursive script (xingshu 行书) used in Chinese calligraphy, in which the character strokes are joined together by a single quick stenographic stroke. Its thickness varies constantly, its shapes are rounded, and the beginnings of lines are evident and allow the public to mentally retrace the agitated rhythm of this spray “brushstroke”. Altogether it reproduces the upheaval and brutality of the event. The gestures and poses of the figures portrayed next to the written portion echo the agitation of such moments. To the immediate left, three rescuers from the National Rescue Team, wearing red jackets and helmets, work tirelessly to remove the rubble with their bare hands, trying to save a little girl from the wreckage. The expression on the child’s face is one of terror and all around her is death and despair. By her side, there is a hooded young man with a blurred face trying to rescue another crying child, holding him steadily in his arms. Next to him there is a masked nurse, whose face is unrecognizable, calling for reinforcements with her arm raised. They are all symbols of the kind of humanity that, in the midst of so much despair, rolled up its sleeves to help those in need, and represent the unity of purpose and aid proclaimed by the slogan in characters. The 3D style number 512 completes the work and stands for the date of the catastrophe, which occurred on the 12th of May. The fill-in colour is red, like the blood that was spilled, while the black depth represents the darkness of the catastrophe, and the yellow outline is a longed for glimmer of light highlighting the importance of the number. At the top of the work there are the artists’ signatures: from left to right we find the names BJPZ Crew in blue, followed by SOOS in black, 0528 in red, and MORE in yellow. On the left side, there is one last inscription on the protruding edge of the wall that looks like a colophon: Jinian Sichuan 纪念四川 (Commemorate Sichuan). The highly graphic cursive style with which Soos created this element, repeated in the penzi 喷子 (writer) characters situated vertically below it, recalls the zigzagging of the seismograph waves reproduced to the side, and stands as a reminder of the earthquake."@en ; write:hasChengyu true ; write:hasChineseConcept ; write:hasColophon true ; write:hasGraffitiGenre , , ; write:hasGraffitiStyle , , , ; write:hasGraffitiType , ; write:hasOtherVisualElement , , , , , ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q17514 ; wdt:P1476 "Red Bull Dragon"@en ; wdt:P170 , ; wdt:P180 , ; wdt:P186 , ; wdt:P276 , ; wdt:P462 , , , , , , ; wdt:P571 "2012-01-14"^^xsd:date, "2012-01-15"^^xsd:date ; wdt:P6375 "Beijing, Nanshan Ski Village."@en ; wdt:P88 ; sch:thumbnailUrl ; write:description """This artwork, commissioned by Red Bull in 2012, was made to celebrate the 10th anniversary of the “Red Bull Nanshan Open”, the most important international snowboarding competition held in Asia, which that year took place at the Nanshan Ski Village in Beijing. \r The piece consists of the yellow Red Bull inscription, created through elaborate wild style with 3D rendering. At the center stands the face of a red dragon, depicted according to the typical Chinese iconography: crocodile head, catfish-like whiskers, mane and deer horns, sinuous snake-like body swirling in the background, a flaming tail, and chicken legs with sharp claws harpooning the inscription and a shiny pearl. Traditionally, Chinese dragons breed by fertilizing a pearl that they usually hold in their jaws. In classical iconography, the pearl is sometimes flaming and is a symbol of wealth, prosperity and good fortune; the pearl here is not flaming but shiny, and contains the letter A, standing for ABS, that is a recurring crew logo. Although not flamboyant, the pearl is meaningful: two arrows on its sides respectively point at the official website of the crew and the names of the writers who created the piece: Seven, Noise, Andc, Smer. By portraying a dragon the crew wanted to celebrate the upcoming beginning of the Year of the Dragon. The competition was in fact held between 14 and 15 January, a few days before the start of the Year of the Dragon 2012 (23 January).\r The famous slogan “Red Bull gives you wings” also certainly influenced the choice of the dragon as a puppet: the ABS crew decided to portray the creature that above all in their tradition flies with strength and vigor, with the intention of conveying the idea of power and robustness embodied by the dragon and evocking the effects of a Red Bull. In addition, the colors used in the graffiti – the yellow writing and the red dragon – are reminiscent of the colors of the Red Bull logo portrayed at the top left-hand corner of the work. The blue background evokes the idea of ice smashed by the might of the dragon, as well as the glacial and snowy landscape that frames the event; but is also a reference to the color of the Red bull can. The horizontal progression of the writing and its rounded edges recall the shape of the snowboard, which formed the basis of the sketch for the piece. \r This is how Andc recounts this experience: “Red Bull has always supported our creative activity. The idea for the graffiti was ours, and Red Bull gave us a lot of creative freedom. […] In this case, Red Bull contacted us because they were looking for someone who had graffiti in their blood and would bring this out in their creative work. To us it sounded exciting to say the least, and therefore we accepted! […] The piece we made on that occasion was used as the backdrop of the stage at the awards ceremony. (Interviews 2015, 2016)”\r This piece is one of the countless works commissioned to the ABS crew by famous brands in which the goal of the crew to preserve their creative freedom and create something original and clearly recognizable is here perfectly achieved. """@en ; write:hasChengyu false ; write:hasChineseConcept ; write:hasChineseVisualElement ; write:hasColophon false ; write:hasGraffitiGenre , ; write:hasGraffitiStyle , , ; write:hasGraffitiType , ; write:hasOtherVisualElement , , , , ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q17514 ; wdt:P1476 "Raising Hope (托起希望)"@en, "托起希望"@zh, "Tuō qǐ xīwàng"@zh-Latn ; wdt:P170 , ; wdt:P180 ; wdt:P186 , ; wdt:P276 ; wdt:P462 , , , , , ; wdt:P571 "2009"^^xsd:gYear ; wdt:P941 , ; sch:thumbnailUrl ; write:description "The artwork \"Tuo qi xiwang 托起希望 (Raising Hope)\" was made in 2009 in memory of the Sichuan earthquake of 12 May 2008, which claimed approximately seventy thousand victims. The piece is a wild style renderings of the four characters of the title inspired by a chengyu (four-character idiom) that means \"Raising Hope\". The writing style is very edgy and basic, consisting of one or two fill-in colors spread evenly, a single outline, and only occasionally a hint of 3D. The result is somewhat “rigid” and reveals the embryonic state of the ANDC personal stylistic research, centered on the attempt to reshape Chinese writing by imitating American styles."@en ; write:hasChengyu true ; write:hasGraffitiGenre , , ; write:hasGraffitiStyle , , ; write:hasGraffitiType , ; write:hasOtherVisualElement ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Alessandro Cerino" ; wdt:P27 ; wdt:P453 , ; wdt:P569 "1958-09-30"^^xsd:date ; wdt:P812 ; wdt:P856 ; wdt:P937 , ; write:description """Alongside a long career as a jazz performer that began in 1982, at the end of the 1990s he began to write and publish classical music compositions. Over 70 recordings see him alongside musicians such as Tony Scott and Paul Bley. He has created around forty soundtracks and theme songs for theatre, short films, cinema and TV, working with many directors including Soldini, Migliarotti and Margherito.\r For Tutù (by Giacomo Mondadori) he won the award for best soundtrack at the OZU festival; Lino Sabbattini, wins as best film on art at the Asolo Festival and Ainom (Garofalo/Ceva Valla) wins at the Chinese Oscars. But perhaps the most prestigious recognition he obtained was in 1996 thanks to Mario Monicelli who awarded the short film "La Donna della Sua Vita" by Daniela Franco, with his soundtrack.\r His jazz version of Vivaldi's Four Seasons is included in the 100th issue of the magazine "Suonare News" and wins the Golden Grain of Rice. For many years he has been under exclusive contract with the prestigious publisher Curci, now in its 150th year of activity. In 2011 he created the project "La Strada della Musica" with the ROM orchestra for the Milan Conservatory. His “The flute connection”, a CD where performers such as M. Simeoli, B. Grossi, F. Loi play his compositions, is included in the specialist flute magazine FALAUT.The documentary with his music "O'Mast" again by Migliarotti is screened in London, New York and Hong Kong; composes and arranges music for LOVE IN SPACE a film (China-HongKong) distributed by FOX also in the USA with Asian stars Angela Baby, Eason Chan and Aaron Kwok\r In 2013 the Strehler of Milan dedicated him a great celebration for his 30 years of career. The Roma Project becomes Orchestra dei Popoli, opening up to other ethnic groups and counting on the collaboration of guests such as Franco Battiato, in a social opening program desired by the Conservatory and the municipality of Milan who still entrust him with direction and arrangements.\r In the world of song he has the opportunity to work as an arranger, among others, with Lucio Dalla, Roberto Vecchioni, M. LoCasciulli and Platinette. With Curci he published the abridged version in 4 volumes of "his" 4 Seasons of Vivaldi, 8 volumes on Astor Piazzolla "Easy Piazzolla" and numerous classical pieces for various ensembles. Leonardo Syndrome by M. Margerito with its soundtrack is selected for EXPOO 2015.In 2016 he created a special library for Finale, the most used musical notation program. Cited in various musical books (Diz. del Jazz by A. Mazzoletti, Umbria Jazz a sea of faces, Il Fluto jazz by S, Benini, Il Saxofono ed. Zecchini, etc) He is in the selection of 24 flautists from all over the world of the FALAUT Festival. In 2017 he presented the new project La Mia Napoli with the Musica Oggi orchestra at the Strehler. In the summer he received a prestigious artistic direction at the La Verdi Auditorium: he carried out a project he had conceived There was many times in Jazz which in 6 concerts accompanies the audience to delve into the music that characterized almost his entire life. On 16 December, again at the La Auditorium, with the Symphony Orchestra directed by him, with original compositions and very personal arrangements of the Neapolitan song, he celebrates his 35-year career Secondo me, Napoli with Antonio Lubrano. In 2018 he resumed the historic duo Ampio Respiro with Daniela Panetta, working on the documentary About a war, on the war in Lebanon (UK production) released in cinemas in London on 28 November. He wrote the music for the short film by Michael Degani and Alessia Rotondo Who is Jerry Adams, and he himself conducted the LaVerdi Symphony Orchestra in the recording of the soundtrack. The film will be released in 2020. He was entrusted with the concert-event for the tenth anniversary of the LaVerdi Youth Orchestra (92 elements aged 8 to 20): Strong? Very strong! documents the concert and preparation for Il Manifesto against child labor (UN project) from which the DVD/CD C'era Numero Volte il Natale will be born in 2019, also available on all digital platforms. On 4 July of the same year he created a new concert event dedicated to the 50th anniversary of the moon landing entitled Houston we have a... concert writing and conducting the LaVerdi Symphony Orchestra again with the voice of Daniela Panetta and the extraordinary participation of the scientist Amalia Ercoli Finzi; during the concert Luca Santaniello performs the world premiere of a movement of his violin concerto Trip to the Moon. In 2021 he created 20 new variations on the theme of Madness for the guitar of the great concert pianist Giulio Tampalini published by Curci in 2022. In 2021 he created a series of broadcasts on Cinema and Music for Swiss Radio.In 2021 Event for the 100th anniversary of the birth of Astor Piazzolla There was 100 times Astor with the Who is Jerry Adams, (M. Degani and A. Rotondo soundtrack with the Sinfonica de LaVerdi in 2020 wins two awards for best soundtrack: Locarno and Los Angeles International Film Festival.\r In 2022, for his 40 years of career, he published a volume with two of his treatises with Curci Milano editions: "A new approach to wind instruments writing", a revolutionary concept on wind writing and "Base-7 symmetries in the musical writing system". With a great Christmas event he celebrates his career in a concert with the Milan Symphony Orchestra, children's choir and mixed choir, vocal trio. A staff of 120 members who received enormous public response. In 2023 he is on stage at the Noh Ma Theater with the actress Iaia Forte in a show by Mimmo di Marzio Principessa.""" ; write:hasCalligraphicTraining "Not present"@en ; write:hasWikidataResource . a write:DecorativeAndAppliedArt ; wdt:P1071 ; wdt:P1476 "Yuanyuan Armchair - Ease (缘圆椅——逸）"@en, "缘圆椅 ——逸"@zh, "Yuán yuán yǐ —— Yì"@zh-Latn ; wdt:P179 ; wdt:P180 , , ; wdt:P186 , ; wdt:P2048 "80 cm" ; wdt:P2049 "60 cm" ; wdt:P2284 "45,000 RMB" ; wdt:P2610 "70 cm" ; wdt:P287 ; wdt:P462 ; wdt:P941 ; sch:thumbnailUrl ; write:description """This piece is part of a set of five armchairs by Minaxdo, titled “Yuanyuan Chairs” (Yuanyuan yi 缘圆椅). It is conceived as an individual expression within the broader Yuanyuan Chairs series, embodying the principles of Chinese calligraphy through a singular, self-contained form. Its design translates the movements of the brush — turns, hooks, inclinations, and directional flow — into a continuous structural gesture, where each curve and transition contributes to a sense of controlled fluidity.\r Rooted in the essence of traditional calligraphy, the armchair presents smooth, restrained lines that evoke the rhythmic balance of running and semi-cursive script. This visual softness is counterbalanced by an inner strength, reflecting the classical notion of fenggu 风骨 — a quiet but resolute structural integrity beneath an elegant surface.\r The chair’s silhouette recalls a spontaneous semi-cursive composition, yet its construction adheres rigorously to mechanical and ergonomic principles. Handcrafted mortise-and-tenon joints punctuate the form like intentional pauses in brush movement, anchoring the design while preserving its sense of motion.\r Named “Yuanyuan” (缘圆), meaning “round-perfect edge” or “harmonious connection,” the armchair expresses continuity and balance through its ergonomically shaped teak and rosewood armrests. Drawing inspiration from the Ming-style backed armchair, the Yuanyuan Armchair – Ease achieves a poised equilibrium between dignified proportion, comfort, and the enduring spirit of Chinese literati aesthetics."""@en ; write:hasColophon false ; write:hasDecorativeArtworkType ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Cursive: A Trilogy (行草三部曲)"@en, "行草三部曲"@zh, "Xíngcǎo sān bù qǔ "@zh-Latn ; wdt:P170 , ; wdt:P580 "2001"^^xsd:gYear ; wdt:P582 "2005"^^xsd:gYear ; write:description "This series of contemporary dance performances is composed of: “Cursive” (Xingcao 行草, 2001), “Pine Smoke · Cursive II” (Song yan · Xingcao er 松煙 · 行草贰, 2003) and “Wild Cursive” (Kuangcao 狂草, 2005). All of these performances are realized by the Cloud Gate Dance Theatre of Taiwan (Yunmen wuji 云门舞集) under Lin Hwai-min 林懷民 (b.1947), the artistic director of the company."@en ; write:includesArtwork . a wd:Q7725310 ; wdt:P1476 "Landscript ( 文字写生) "@en, "文字写生"@zh, "Wénzì xiěshēng"@zh-Latn ; wdt:P170 ; wdt:P580 "1999"^^xsd:gYear ; wdt:P582 "2013"^^xsd:gYear ; write:description "In this series, Xu Bing used Chinese characters as pictorial elements to arrange landscape paintings. In this way, characters for “stone” (shi 石) make up images of rocks; the character for “tree” (mu 木) makes up trees; the character for “grass” (cao 艸) grass, for “leaves” (ye 叶) leaves, for “clouds” (yun 云) clouds, and so on. The characters varying from regular and cursive scripts to simplified forms as well as such archaic forms as bronze and oracle-bone scripts are the ones he uses the most because of their pictographic value. In this series, started in 1999 when the artist went to the Himalayas sketching natural “scenes” with Chinese characters, Xu Bing transforms visual images of landscapes into linguistic forms, inviting the viewers to reassess the distinctiveness of Chinese culture hidden within traditional landscape paintings, and offers a unique approach to “read a scene”. Chinese characters, becoming pictorial elements, regain their value as semantic elements."@en ; write:includesArtwork . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "New Poems Series (新诗系列)"@en, "新诗系列"@zh, "Xīnshī xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "1988"^^xsd:gYear ; wdt:P582 "1989"^^xsd:gYear ; sch:thumbnailUrl ; write:description """The New Poem Series (新诗系列), begun by Qiu Zhenzhong in 1980, marks a radical shift in Chinese calligraphy. The artist transcribes free verse in vernacular language (xinshi 新诗), following a horizontal layout from left to right — a completely new orientation for Chinese script. In this format, the characters lose their legibility, becoming pure visual rhythm.\r The series explores the visual power of Chinese characters, especially family names. Inspired by the Hundred Family Surnames, each character becomes a symbol of individuals, families, or collective memory. Without the rules of grammar or syntax, Qiu gains full freedom to arrange the characters as pure visual forms. """ ; sch:image ; write:includesArtwork . a wd:Q7725634 ; wdt:P1476 "The Hard Road to Sichuan/Hard Roads in Shu (蜀道难)"@en, "蜀道难 "@zh, "Shǔ dào nán"@zh-Latn ; wdt:P1480 ; wdt:P50 ; wdt:P571 "0742"^^xsd:gYear ; write:description "“The Hard Road to Sichuan/Hard Roads in Shu” is a representative poem of Li Bai (701-762), a great poet of the Tang Dynasty. The whole poem is a continous and elaborate narration of the difficulties in the access to western Sichuan called Shu. The poem exhibits rich connotations of the expression about the jeopardy and fright of the Shu Road. The poetic form of this poetry belongs to the poetic genre of 'yuefu' (乐府)." ; write:hasWikidataResource ; write:transcriptionAndTranslation """ Oh, but it is high and very dangerous! \r Such traveling is harder than scaling the blue sky. \r ...Until two rulers of this region \r Pushed their way through in the misty ages, \r Forty-eight thousand years had passed \r With nobody arriving across the Qin border. \r And the Great White Mountain, westward, still has only a bird's path \r Up to the summit of Emei Peak -- \r Which was broken once by an earthquake and there were brave men lost, \r Just finishing the stone rungs of their ladder toward heaven. \r ...High, as on a tall flag, six dragons drive the sun, \r While the river, far below, lashes its twisted course. \r Such height would be hard going for even a yellow crane, \r So pity the poor monkeys who have only paws to use. \r The Mountain of Green Clay is formed of many circles- \r Each hundred steps, we have to turn nine turns among its mound -- \r Panting, we brush Orion and pass the Well Star, \r Then, holding our chests with our hands and sinking to the ground with a groan, \r We wonder if this westward trail will never have an end. \r The formidable path ahead grows darker, darker still, \r With nothing heard but the call of birds hemmed in by the ancient forest, \r Male birds smoothly wheeling, following the females; \r And there come to us the melancholy voices of the cuckoos \r Out on the empty mountain, under the lonely moon.... \r Such traveling is harder than scaling the blue sky. \r Even to hear of it turns the cheek pale, \r With the highest crag barely a foot below heaven. \r Dry pines hang, head down, from the face of the cliffs, \r And a thousand plunging cataracts outroar one another \r And send through ten thousand valleys a thunder of spinning stones. \r With all this danger upon danger, \r Why do people come here who live at a safe distance? \r ...Though Dagger-Tower Pass be firm and grim, \r And while one man guards it \r Ten thousand cannot force it, \r What if he be not loyal, \r But a wolf toward his fellows? \r ...There are ravenous tigers to fear in the day \r And venomous reptiles in the night \r With their teeth and their fangs ready \r To cut people down like hemp. \r Though the City of Silk be delectable, I would rather turn home quickly. \r Such traveling is harder than scaling the blue sky.... \r But I still face westward with a dreary moan.\r (Translated by Witter Bynner)"""@en, """ 噫吁戲 \r 危乎高哉 \r 蜀道之難難於上青天 \r 蠶叢及魚鳧 \r 開國何茫然 \r 爾來四萬八千歲 \r 始與秦塞通人煙 \r 西當太白有鳥道 \r 可以橫絕峨眉巔 \r 地崩山摧壯士死 \r 然後天梯石棧方鉤連 \r 上有六龍回日之高標 \r 下有衝波逆折之迴川 \r 黃鶴之飛尚不得 \r 猿猱欲度愁攀援 \r 青泥何盤盤 \r 百步九折縈巖巒 \r 捫參歷井仰脅息 \r 以手撫膺坐長歎 \r 問君西遊何時還 \r 畏途巉巖不可攀 \r 但見悲鳥號古木 \r 雄飛雌從繞林間 \r 又聞子規啼 \r 夜月愁空山 \r 蜀道之難難於上青天 \r 使人聽此凋朱顏 \r 連峰去天不盈尺 \r 枯松倒掛倚絕壁 \r 飛湍瀑流爭喧豗\r 砯崖轉石萬壑雷 \r 其險也如此 \r 嗟爾遠道之人 \r 胡為乎來哉 \r 劍閣崢嶸而崔嵬 \r 一夫當關 \r 萬夫莫開 \r 所守或匪親 \r 化為狼與豺 \r 朝避猛虎 \r 夕避長蛇 \r 磨牙吮血 \r 殺人如麻 \r 錦城雖云樂 \r 不如早還家 \r 蜀道之難難於上青天 \r 側身西望常咨嗟 """@zh, """噫吁戏\r 危乎高哉\r 蜀道之难难于上青天\r 蚕丛及鱼凫\r 开国何茫然\r 尔来四万八千岁\r 始与秦塞通人烟\r 西当太白有鸟道\r 可以横绝峨眉巅\r 地崩山摧壮士死\r 然后天梯石栈方钩连\r 上有六龙回日之高标\r 下有冲波逆折之回川\r 黄鹤之飞尚不得\r 猿猱欲度愁攀援\r 青泥何盘盘\r 百步九折萦岩峦\r 扪参历井仰胁息\r 以手抚膺坐长叹\r 问君西游何时还\r 畏途巉岩不可攀\r 但见悲鸟号古木\r 雄飞雌从绕林间\r 又闻子规啼\r 夜月愁空山\r 蜀道之难难于上青天\r 使人听此凋朱颜\r 连峰去天不盈尺\r 枯松倒挂倚绝壁\r 飞湍瀑流争喧豗\r 砯崖转石万壑雷\r 其险也如此\r 嗟尔远道之人\r 胡为乎来哉\r 剑阁峥嵘而崔嵬\r 一夫当关\r 万夫莫开\r 所守或匪亲\r 化为狼与豺\r 朝避猛虎\r 夕避长蛇\r 磨牙吮血\r 杀人如麻\r 锦城虽云乐\r 不如早还家\r 蜀道之难难于上青天\r 侧身西望常咨嗟"""@zh, """Yī xū xì \r wēi hū gāo zāi \r shǔ dào zhī nán nányú shàng qīngtiān \r cán cóng jí yú fú \r kāiguó hé mángrán \r ěr lái sì wàn bāqiān suì \r shǐ yǔ qín sāi tōng rén yān \r xī dāng tàibái yǒu niǎo dào \r kěyǐ héng jué éméi diān \r dì bēngshān cuī zhuàngshì sǐ \r ránhòu tiāntī shí zhàn fāng gōu lián \r shàng yǒu liù lóng huí rì zhī gāo biāo \r xià yǒu chōng bō nì zhé zhī huí chuān \r huánghèzhī fēi shàng bùdé \r yuán náo yù dù chóu pānyuán \r qīng ní hé pán pán \r bǎi bù jiǔ zhé yíng yán luán \r mén cān lì jǐng yǎng xié xī \r yǐ shǒu fǔ yīng zuò zhǎngtàn \r wèn jūn xīyóu héshí hái \r wèitú chán yán bùkě pān \r dàn jiàn bēi niǎo hào gǔmù \r xióngfēi cí cóng rào línjiàn \r yòu wén zǐguī tí \r yè yuè chóu kōngshān \r shǔ dào zhī nán nányú shàng qīngtiān \r shǐ rén tīng cǐ diāo zhū yán l\r iánfēng qù tiān bù yíng chǐ \r kū sōng dàoguà yǐ juébì \r fēi tuān pù liú zhēng xuān huī \r pīng yá zhuǎn shí wàn hè léi \r qí xiǎn yě rúcǐ \r jiē ěr yuǎndào zhī rén \r hú wèi hū lái zāi \r jiàngé zhēng róng ér cuīwéi \r yīfū dāng guān wàn fū mò kāi \r suǒ shǒu huò fěi qīn \r huà wéi láng yǔ chái \r zhāo bì měnghǔ \r xī bì chángshé \r móyá shǔn xuè \r shārén rú má \r jǐnchéng suī yún lè \r bùrú zǎo hái jiā \r shǔ dào zhī nán nányú shàng qīng tiān \r cèshēn xī wàng cháng zī jiē."""@zh-Latn . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Status (状态)"@en, "状态"@zh, "Zhuàngtài"@zh-Latn ; wdt:P170 ; wdt:P180 , , ; wdt:P186 ; wdt:P462 ; wdt:P571 "2024"^^xsd:gYear ; wdt:P608 ; wdt:P941 , ; sch:thumbnailUrl , ; write:description "This sculpture by Qiu Zhenzhong was exhibited at the Venice Art Biennale. It features fluid, calligraphic lines crafted from black, metallic materials. The abstract forms twist and loop intricately, evoking the sinuous lines of Chinese calligraphy. The piece conveys a sense of movement, plasticity, and rhythm, as if the calligraphic lines have been brought to life in a three-dimensional form, blending art and nature harmoniously." ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image , . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "A Poem by Li Bai (Through the Yangze Gorge)"@en, "李白诗 （早发白帝城）"@zh, "Lǐ Bái shī (Zǎo fā bái dì chéng)"@zh-Latn ; wdt:P170 ; wdt:P180 , ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "1985"^^xsd:gYear ; wdt:P608 ; write:description "This work was exhibited during the \"First Exhibition of Chinese Modern Calligraphy\" that was held in 1985 at the National Art Museum of China. Su Yuanzhang uses calligraphic forms to mimic the forms of landscape paintings. The name of the work comes from the final two lines of a famous poem by Li Bai entitled \"Zao fa bai di cheng\"早发白帝城 (Through the Yangze River), whose characters make up the landscape. "@en ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle """CWU 1 Women's Writing: A Blank Page (女书)\r """ ; write:description """This CWU consists of the text written in one of the four components of Cai Mengxia’s installation "Women's Writing: A Blank Page" (Nüshu: Kongbai zhi ye 女书——空白之页), and specifically on the top right panel. It is inscribed with text in Women's Writing (nǚshū 女书), a unique form of calligraphy historically used exclusively by ethnic Yao women. Originating from the Jiangyong area in Hunan Province, Nǚshū was developed as a secretive script allowing women a private means of communication. In her artwork, Cai Mengxia highlights this localized and gender-specific script to underscore its significance as a medium of expression solely for women. By incorporating Nǚshū into her installation, she not only acknowledges its cultural and historical importance but also elevates its status within the broader discourse of women's writing and artistic expression.\r It is important to notice that Nüshu became a national-level ICH of China when 'Nüshu Custom' was included in China's National Representative List of Intangible Cultural Heritage in 2006.""" ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 43 ; write:relatedUnit , . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle """CWU 2 Women's Writing: A Blank Page (kana)\r """ ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:relatedUnit , . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle """CWU 3 Women's Writing: A Blank Page (hangul)\r """ ; write:description "This CWU consists of the text in Korean written in the Hangul script written by Cai Mengxia in the bottom right of her installation Women's Writing: A Blank Page." ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:relatedUnit , . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Love Writing 98-18 (情书98-18) "@en, "情书 98-18"@zh, "Qíngshū 98-18"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P2048 "195 cm" ; wdt:P2049 "140 cm" ; wdt:P462 , , , , , ; wdt:P571 "1998"^^xsd:gYear ; wdt:P941 , ; sch:thumbnailUrl ; write:description """The artwork “Love Writing 98-18” is part of Luo Qi’s “Love Writing” series (1990–2002), which explores the intersection of calligraphy and painting. In this work, Luo Qi uses oil on canvas, a Western medium traditionally absent from Chinese calligraphy, to reinterpret calligraphic forms through a painterly, abstract language. Although the brushstrokes may resemble Chinese characters at first glance, but they are actually stylized graphic signs inspired by ancient scripts, particularly the ancient bronze script (jinwen 金文), which serve as the visual backbone of the composition. Their pictographic quality, combined with the use of bold, primary colors, gives the painting both symbolic depth and strong visual impact. The pictographic feel of these signs, along with the visual and symbolic power of the composition, is marked by the use of primary colors and bold contrasts. \r Drawing inspiration from Western abstraction, especially the structured compositions of Piet Mondrian (1872 – 1944) and the symbolic language of Paul Klee (1879 – 1940). Luo Qi does not aim for geometric perfection. Instead, he maintains the expressive quality of his gestures: the lines shift in weight and rhythm, and colors are layered with tactile texture and spontaneous rhythm. """ ; write:hasVisualArtworkType , , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q7725310 ; wdt:P1476 "Love Writing (情书)"@en, "Lettere d'amore"@it, "情书"@zh, " Qíngshū"@zh-Latn ; wdt:P170 ; wdt:P580 "1990"^^xsd:gYear ; wdt:P582 "2002"^^xsd:gYear ; sch:thumbnailUrl , ; write:description """Love Writing (Qíngshū 情书, 1990-2002) is one of Luo Qi’s most emblematic and conceptually rich series, representing a pivotal development in his artistic career. Initiated in 1990, the series evolves through an increasingly complex dialogue between Chinese calligraphy and Western abstraction. It marks a significant departure from the conventions of classical calligraphy, leading to the formation of what Luo Qi himself later defined as "Calligraphyism" (Shūfǎ zhǔyì 书法主义).\r The link with Chinese heritage is reasserted through the use of pictographic and seal script forms (e.g. Jiǎgǔwén 甲骨文 and Zhuànshū 篆书), transformed into abstract visual language. These archaic elements, reworked and reimagined, become a recurring motif across the series. As Lars (p. 42) notes, “The results were really remarkable, transforming these old scripts into a variety of richly coloured abstractions”. Indeed, from 1994 onward, Love Writing becomes a true fusion of Chinese and Western aesthetics (Iezzi 2019, 97–98), due to the employment of oil painting and the influence of major Western modernists, especially Mondrian and Klee, in the artist's compositional strategies and chromatic choices. The artist explores the expressive possibilities of both black and colored ink, treating them in painterly fashion to create macro-signs increasingly oriented toward abstraction and symbolic resonance. In this context, calligraphy becomes line, and painting becomes color—two elements integrated into what Luo Qi calls “calligraphy-and-painting” compositions.\r Throughout the series, the evolution of Luo Qi’s visual language unfolds in four main phases (Iezzi 2019, 195–221), with key turning points in 1994, 1996, and 1998:\r - Phase 1 (1990-1993): The series begins with Love Writing No. 1, later exhibited in the landmark show Brushed Voices: Calligraphy in Contemporary China (Miriam & Ira D. Wallach Art Gallery, Columbia University, New York, April 15 – June 6, 1998). This work, together with The Original Word (原句 Yuan ju, 1997) and Blackism No. 1 (黑色主义之一 Heise zhuyi zhi yi, 1990), encapsulates the artist’s early explorations of deconstructed calligraphic forms. Luo Qi blends brush techniques from various styles, fragments character shapes, and begins to introduce dynamic spatial arrangements. The works are executed in ink on paper, in the traditional vertical scroll format.\r - Phase 2 (1994–1995): The influence of classical calligraphy remains pronounced. Strokes of black ink form structures reminiscent of archaic or cursive characters, though their proportions are distorted and their composition is intentionally disjointed. Luo moves away from the vertical column structure typical of traditional calligraphy.\r He begins to introduce color within outlined shapes, creating harmonic relationships between tones. Yet the medium remains ink on paper, and the large-scale hanging scroll format is still employed.\r - Phase 3 (1996-1997): This phase marks a radical shift: Luo Qi embraces oil on canvas, a Western medium traditionally absent from Chinese calligraphy. The reference to written characters largely disappears, replaced by abstract grids, intersecting lines, and bold color fields. Influences from Mondrian’s compositional rigor and Klee’s symbolic abstraction become increasingly visible. Unlike Mondrian’s pursuit of formal perfection, however, Luo Qi retains a strong human presence in the gesture and texture of his works. Lines vary in weight and direction, and colors are layered expressively rather than mechanically.\r - Phase 4 (1998-2002): Luo Qi returns to a more structured visual rhythm, recalling the organization of calligraphy in columns. The compositions are more balanced, featuring grid-like arrangements, stylized symbols, and a playful graphic vocabulary akin to Klee and Miró. (compare the artwork "Love Writing 98-18" of this series). There is a marked tendency toward monochrome palettes and compositional clarity, signaling a synthesis of abstraction and calligraphic heritage.""" ; sch:image , ; write:includesArtwork . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 2008 Beijing Paralympic Games Logo (之)" ; write:description """This CWU consists of the Chinese character “zhi 之”—which can signify “birth,” “life,” “going,” or “attainment”—shaped as a stylized figure of an athlete in motion. The character is rendered in a Chinese calligraphic typeface inspired by running script (xingshu 行书), conveying a sense of fluidity and energy. Its design embodies the Paralympic motto “Spirit in Motion,” while also illustrating the philosophical principle of the integration of heart, body, and spirit, as well as the unity and harmony of "heaven, earth, and humankind" (Tiandiren 天地人), two central tenets of Chinese culture. The three colors of the logo—red, blue, and green—represent the sun, sky, and earth, respectively, reinforcing the symbolic connection between human beings and the natural cosmos.\r According to the "Shuowen Jiezi" (说文解字), the earliest surviving Chinese dictionary, completed by Xu Shen (许慎) around 100 CE, the original form of the character “zhi 之” derives from “zhi 止” (foot) with a line added beneath it. This etymology emphasizes movement and the notion of “going forward,” which resonates with the mission of the Paralympics: transcending physical and personal limits. The character’s form appears to depict a human figure with a head (the red dot), arms and torso (the blue stroke), and a single stroke in place of two legs (the green stroke). This visual form evokes the physical conditions of some Paralympic athletes, while emphasizing their capacity to move, walk, and progress in continuous motion—symbolizing the extraordinary effort that persons with disabilities must exert both in athletic competition and in everyday life."""@en ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:numberOfCharacters 1 ; write:relatedUnit , ; write:transcriptionAndTranslation "birth, life, going, attainment"@en, "之"@zh, "zhī "@zh-Latn ; write:vectorisedOrDigitised true . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Godbird Series (神鸟系列)"@en, "神鸟系列"@zh, "Shén niǎo xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "2004"^^xsd:gYear ; wdt:P582 "2009"^^xsd:gYear ; sch:thumbnailUrl ; write:description """ "Godbird Series" (Shenniao xilie 神鸟系列) is one of the three interrelated series of artworks realized by Luo Qi between 2005 and 2009 , together with the "Godfish Series" (Shenyu xilie 神鱼系列) and the "Flying Fish Series" (Feiyu xilie 飞鱼系列). The works, realized in ink and color on paper, explore a creative reinterpretation of the ancient Chinese characters for "bird" (niao 鸟) and "fish" (yu 鱼). Each series demonstrates a pictographic return, with a move from rigid adherence to the original character forms to a more fluid and creative interpretation. In the artworks of these three series, Luo Qi emphasizes the visual structure and transformation of the characters. He manipulates the symbols freely, creating diverse representations of "birds" and "fish" that challenge traditional artistic conventions and explore new visual languages. In the first artworks of these series, the analogy with the pictographic forms of the related character is very strong, but then it becomes increasingly tenuous in favour of a greater resemblance to the real images of birds and fish or to their conventional way of being drawn. In the last examples, they turn into compositions of lines that only vaguely recall the shapes of birds and fishes.\r Therefore, Luo Qi uses the idea of "combinatorial and asymmetric modularity", where variations and irregularities become key principles of creativity, together with a fusion between different levels of representation, such as the archaic forms of the characters, the stylized drawings of real images, the linear abstraction, and the rework of conventional elements. \r \r """ ; sch:image ; write:includesArtwork . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Godbird 07-30 (神鸟07-30)"@en, "神鸟07-30"@zh, "Shén niǎo 07-30"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P2048 "68 cm" ; wdt:P2049 "68 cm" ; wdt:P462 , , ; wdt:P571 "2007"^^xsd:gYear ; sch:thumbnailUrl ; write:description "\"Godbird 07-30\" is one of the works included in the \"Godbird Series\" (Shenniao xilie 神鸟系列). In the works of this series, Luo Qi reinterpreted the ancient Chinese character \"bird\" (niao 鸟) , preserving and elaborating its original shapes to the greatest extent. In \"Godbird 07-30\", there is no longer a strong analogy with the pictographic forms of the related character, and the compositions of lines only faintly suggest the shapes of a bird. In this work and similarly in all the works of the series, Luo Qi created a childish, archaic drawing writing, in which the characters have been heavily reshaped and contaminated with simple figurative elements. For example, the beak is rendered in red, reminiscent of a seal impression, while green is used for the bird's plumage. This coloration gives the bird an almost fish-like form, evoking connections to the \"Flying Fish Series\" by the same artist. This non-formalized 'writing' is no longer linguistically readable, but visually appreciable, opening itself to universal aesthetic enjoyment. " ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Why Are You Worried? (为何忧虑)"@en, "为何忧虑"@zh, "Wéihé yōulǜ"@zh-Latn ; wdt:P170 ; wdt:P180 , , ; wdt:P186 , ; wdt:P2048 "3.1 m" ; wdt:P2049 "4.8 m" ; wdt:P462 , ; wdt:P571 "1992"^^xsd:gYear ; wdt:P608 ; sch:thumbnailUrl ; write:description "\"Why Are You Worried?\" is a large-scale ink work realized by Luo Qi in 1992, and presented by Luo Qi on the occasion of the \"First Exhibition of Calligraphyism\". This artwork features a large, dynamic mix of brushstrokes in various thicknesses and sizes, creating a vibrant composition carrying a strong abstract charge and energy. " ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , , ; wdt:P1412 ; wdt:P19 , ; wdt:P21 ; wdt:P2561 "Hua Jun 花俊" ; wdt:P27 ; wdt:P569 "1970"^^xsd:gYear ; wdt:P800 ; wdt:P812 ; wdt:P856 ; wdt:P937 , ; write:description "Hua Jun, born in Jiangsu 1970. He graduated from the China Academy of Art in 1994. He moved to Sweden in 1995, obtaining a Master’s degree from the Royal Swedish Academy of Fine Arts in 2002, and taught Chinese calligraphy at Stockholm University and Royal Academy of Fine Arts in Sweden. He returned to China in 2006, where he pursued his PhD at the China Academy of Art (CAA) under the supervision of Professor Wang Dongling. He is currently professor at China Academy of Art and Deputy Director of the Department of Chinese Painting. Hua Jun works in the field of contemporary Chinese art, whose work spans multiple artistic disciplines, including ink painting, calligraphy. He is also actively engaged in performance art, installation art, photography, printmaking, and design." ; write:hasCalligraphicTraining "Academic"@en ; write:isCalligrapherOf . a wd:Q4502142 ; wdt:P1071 ; wdt:P127 ; wdt:P1476 "Black Series (黑色系列)"@en, "黑色系列"@zh, "Hēisè xìliè"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P2048 "69 cm" ; wdt:P2049 "69 cm" ; wdt:P462 , ; wdt:P571 "1990"^^xsd:gYear ; wdt:P856 ; sch:thumbnailUrl ; write:description """"Black Series" (1990) is one of the abstract calligraphic works realized by Wang Nanming. The artist used black ink to almost covers the entire surface of the paper. The work was first exhibited at the 1991 Nanjing Invitational Exhibition of Works by Contemporary Calligraphers. It marks Wang's critical exploration of calligraphy as a cultural system. This inquiry continued in later works, including "Balls of Characters" (1992).\r Wang regarded calligraphy not only as a refined art form, but also as an instrument of social control in Chinese history (Barrass 2002, 251-252). Its complexity restricted access to education and reinforced cultural authority and social hierarchy. For this reason, his works acquire a stronger provocative dimension. Before viewing the work, visitors were asked to sign their name on a sheet of paper with a brush is placed beside it. However, the warning instructions: “Do not sign using the brush" exposed the visitors to the tension between ritual habit and contemporary awareness, as traditional forms and tools appear anachronistic and obsolete. Wang suggests that traditional conventions are no longer viable in the present.""" ; write:hasVisualArtworkType , , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Ten Tang Poems - Video (唐诗十首) - Artwork"@en, "唐诗十首"@zh, "Tángshī shí shǒu"@zh-Latn ; wdt:P170 ; wdt:P571 "2000"^^xsd:gYear ; wdt:P941 ; write:derivesFrom ; write:description "This video was realized by Qiu Zhijie during the performance Ten Tang Poems (唐诗十首). The calligraphies previously created by Qiu Zhijie are recorded during the performance in reverse, with the poems being erased as they are written, turning calligraphy into an \"anti-calligraphy\"."@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; write:usesArtwork ; write:vectorisedOrDigitised true . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Ink Shooting (射墨) - Artwork"@en, "射墨"@zh, "Shè mò"@zh-Latn ; wdt:P170 ; wdt:P180 , ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2017"^^xsd:gYear ; write:derivesFrom ; write:description """This artwork is part of the Shao Yan’s "Ink Shooting" performance realized in 2017. The artwork, created through the projection of ink from syringes onto an extended sheet of paper, challenges conventional understandings of form, legibility, and medium. What emerges is not a composition of decipherable symbols, but a dynamic visual field marked by bursts, splatters, and directional traces—each a record of intentional movement and physical force.\r Far from being a random abstraction, the image is charged with conceptual depth: it embodies a deliberate departure from the brush as instrument, and from character as the sole carrier of meaning. Shao Yan reframes calligraphy as a visual language of energy and impulse, one in which ink becomes a conduit for embodied expression. His technique, defined "ink shooting" positions the work within a lineage of Chinese calligraphy, while also radically expanding its scope. By removing recognizable characters, the work foregrounds the expressive residue of movement and the visceral relationship between artist and medium. The image on paper is the trace of a momentary yet intentional act, an inscription of force and presence that redefines the boundaries of what writing can be.""" ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "Painful ‘Scriptures’ (痛 ‘经’) "@en, "痛 ‘经’"@zh, "Tòng ‘jīng’"@zh-Latn ; wdt:P175 ; wdt:P180 , , , , , ; wdt:P186 wd:Q127418, wd:Q5849500 ; wdt:P276 ; wdt:P585 "2024"^^xsd:gYear ; wdt:P941 , ; sch:thumbnailUrl , , , , , ; write:calligrapher ; write:description """This performance by Wu Xixia is realized in 2024 in Guizhou. The whole conceptual work is based on the deconstruction of the Chinese word “tongjing 痛经” (dysmenorrhoea/menstrual pain). This word indicates the menstrual flow and the pain it causes. Separating the two characters, “tong 痛” means “pain, sadness, sorrow”, while the word “jing 经” refers to “scriptures” or “classics”, such as “Book of the Way and Virtue” (Dao De Jing), “Four Books and Five Classics” (Sishu wujing 四书五经), etc. For the artist, separating these two characters means “deviating from the scriptures” and therefore is equivalent to suffering. At both ends of the riverbank, the artist invites the public to pull up red cloth strips and apply tension to them to play “tug of war” at both ends of the bank. The artist is in the middle of the riverbank and writes the top ten criminal laws used to punish women in ancient China on the red cloth strips, such as: 1) "zhen xing 针刑" (needle torture), a type of torture involving the use of needles or pins to inflict pain on the victim, especially to penetrate the skin or sensitive areas of the body; 2) "yi zhang hong 一丈红" (one foot of red), a torture method also known as "red stick torture" that was practiced with a stick used to repeatedly hit a person, causing bruises and damage to the skin; 3) "mu lü 木驴" (wooden donkey), a form of torture involving the victim being forced to sit or lean on a sharp or awkwardly shaped wooden object, causing intense pain; 4) "you bi 幽闭" (confinement), a torture by solitary confinement, where the victim was locked in a narrow or dark space for a prolonged period, inflicting both physical and psychological suffering; 5) "luo xing 烙刑" (branding), a torture by branding, which involved burning the victim's skin with a hot iron, to brand them with permanent scars or to inflict intense pain; 6) "peng zhu 烹煮" (boiling), a torture method that involved cooking the victim alive in boiling water or other high-temperature liquids, causing severe burns and suffering; 7) "ku ti 刳剔" (beheading), a type of torture in which internal parts of the victim's body, such as organs, were removed or mutilated with the intent of inflicting suffering and slow death; 8) "jin zhu long 浸猪笼" (soaking in pig cage), a torture in which the victim was immersed in a narrow cage, often filled with water or other liquids, causing asphyxiation or physical torment; 9) "hong xiu xie 红绣鞋" (red embroidered shoes), a symbolic torture method, where the victim was forced to wear special shoes as a sign of humiliation or social punishment; and 10) "za xing 拶刑" (finger crushing), a type of torture in which the victim's fingers were crushed or injured with torture instruments, causing intense pain and permanent deformities.\r After writing on the red cloth strips, Xixia uses them to wraps herself in. At the same time, the pulling force in the hands of the public continues to increase. The artist is bound and tightened in the red cloth strips, with the whole body immersed in the river water. The work mobilizes the cultural body and sensory body in the female body. This is a self-salvation with pain and suffocation as the purpose. The red cloth strips symbolize the umbilical cord and the menstruation (personified by the public) that “trapped” the body. Even in this case the “woman/self” is regarded as an “object” to be viewed, and the public is the “subject” of the gaze. The feeling of “pain” and “suffocation” can perceive the body, or “existence”. In suffocation, we gain the internal perception of the body."""@en ; write:hasChineseConcept ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image , , , , , ; write:madeUsingTool wd:Q614467 ; sch:video , , . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "The Story of the Mirror (镜子的故事)"@en, "镜子的故事"@zh, "Jìngzi de gùshì"@zh-Latn ; wdt:P175 ; wdt:P180 , , ; wdt:P186 wd:Q127418, wd:Q171495, wd:Q283, wd:Q618710 ; wdt:P2047 "PT30M"^^xsd:duration ; wdt:P276 ; wdt:P585 "2023-11-10"^^xsd:date ; wdt:P608 ; wdt:P941 , ; sch:thumbnailUrl ; write:calligrapher ; write:description "The performance takes place in three different moments. 1) In a room furnished with an old mattress and red gauze, Li Xinmo begins to use red ink (cinnabar ink) to write characters related to pain on the gauze and after on the mattress. These characters are words and poetic verses from Chinese calligraphic tradition and in particular related to the famous calligrapher Wang Xizhi, such as: “Pain penetrates the heart and liver, pain should be helpless” (Tong guan xingan, tong dang naihe 痛贯心肝、痛当奈何), a verse contained in “Letter of Distress and Indignation” (Sangluan tie 丧乱贴) and “sadness and pain are destroyed” (aitong cui bo 哀痛摧剥) a verse from “Deploring the Death of My Aunt” (Yimu tie 姨母帖). 2) In a second moment, after having sprinkled the mattress with red balloons filled with water (symbol of female ovaries) she begins to break them flooding everything with water. 3) Finally, the artist takes a mirror, breaks it and begins to put pieces of broken glass in her mouth, whispering some moans and words. She is unable to speak clearly, as the pieces of glass could cut her. In this performance, the artist uses key elements that lead her back to the excursus of suffering endured by women who receive sexual abuse: first the pain expressed through calligraphy (symbol of patriarchal power), then the loss of femininity through the symbolic breaking of the ovaries that, by breaking, flood everything “soft” and “comfortable” (like the mattress) that life can offer. Finally, her reflection in the mirror breaks into a thousand pieces, filling her mouth and preventing her from speaking. What comes out is only a silent scream and a few barely audible whispers."@en ; write:hasChineseConcept ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image ; write:madeUsingTool wd:Q614467 . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "iPad Works (iPad 书写)"@en, " iPad 书写 "@zh, "iPad shūxiě"@zh-Latn ; wdt:P170 ; wdt:P580 "2021"^^xsd:gYear ; sch:thumbnailUrl ; write:description "In the Series of \"iPad Works\" ( iPad 书写, 2021-ongoing), the artist Wang Dongling expanded his artistic repertoire using iPad and Apple pencil as tools to create calligraphy. The artwork “Filling the World with Love” (Rang shijie chongman ai 让世界充满爱, 2021) by Wang Dongling represents one of the first Chinese calligraphic works using iPad innovative technologies." ; sch:image ; write:includesArtwork , . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Born from Thirst for Love (从渴爱生)"@en, "从渴爱生"@zh, "Cóng kě ài shēng"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P2048 "2388px" ; wdt:P2049 "1668px" ; wdt:P571 "2021"^^xsd:gYear ; sch:thumbnailUrl ; write:description "\"Born from Thirst for Love, iPad Works, 2021\" is a digital artwork created using an iPad. This piece, measuring 1668px × 2388px, reflects the theme of intense desire and longing for love, visually rendered through expressive, fluid strokes and vivid, emotional colors. The artwork combines the text in Chinese and the photograph of Marta Graham. This artwork is included in the series of iPad Works and highlights Wang Dongling's exploration of modern tools to convey timeless human emotions." ; write:hasVisualArtworkType , ; write:hasUnit ; sch:image ; write:vectorisedOrDigitised true . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P21 ; wdt:P2561 "Tsai Yi-Fen 蔡宜芬 " ; wdt:P27 ; wdt:P800 ; wdt:P812 ; wdt:P937 ; sch:thumbnailUrl ; write:description "Tsai Yi-Fen is a joung fashion designer from Taiwan. She obtained the Bachelor of Arts in Fashion Design from Shih Chien University (Taipei), one of the top schools in the field of Art & Design in Taiwan. In 2013, she launched her brand \"if&n\". The brand is known for its natural elegance and ability to imbue the brand with various crossover collaborations."@en ; sch:image ; write:isDesignerOf . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU 2 \"Vagina Font\" Calligraphy (unknown) " ; write:description "This CWU is part of the performance \"Vagina Font\" Calligraphy (\"bi - 体” 书法)\". Sun Ping assists his collaborator Luo Shan as she executes calligraphy using a brush dipped in red ink inserted inside her vagina. Her movements attempt to reproduce Chinese characters, resulting in different characters (almost illegible) that resemble a wild cursive script style. "@en ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Set of signs (illegible)" ; write:isUnitOf , ; write:madeUsingTool , ; write:relatedUnit . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P1412 ; wdt:P21 ; wdt:P2561 "Exas 灵丹" ; wdt:P27 ; wdt:P361 ; wdt:P800 ; wdt:P856 ; wdt:P937 ; write:description """Exas, a writer from Beijing, began his journey into graffiti during high school around 2005. At the time, he was a "toy" – a graffiti term used to describe novices – and primarily imitated the work of European graffiti artists. However, it was not until 2012 that Exas decided to focus on using Chinese characters in his own work. This shift was inspired by his crewmate, Funk, who motivated him to explore Chinese characters that resembled his English name. As a result, Exas adopted the tag "Ling Dan 灵丹," which means "panacea." He explained that the first character of this name means "soul," and together with Funk, they presented themselves on the streets as "funk and soul."\r Originally, Exas was part of the BJPZ graffiti crew for a period, where most of the members incorporated Chinese characters in their work. However, he noted that much of this work leaned more toward commercial design rather than traditional graffiti. But he was also part of several crews, as there are continuous switches and collaborations between writers and crews in China.\r Transitioning from English to Chinese characters in his graffiti presented significant challenges for him. He explained that Chinese characters require more time to execute and make it harder to develop a distinctive style without directly imitating someone else’s work. \r His lettering in Chinese reflected a traditional and simple aesthetic, characterized by straight lines and rounded edges, unintentionally resembling the Cai Yun font. He admitted that he hadn’t realized the resemblance, attributing it to the simplicity that made it easier to paint and suited his preference for bombing—graffiti in public spaces—over legal work. He emphasized that graffiti should integrate into daily urban life rather than be confined to art districts or shopping mall walls. Reflecting on the changes in Beijing’s graffiti scene, Exas expressed his disappointment, noting that the scene had largely faded as much of the work was being erased overnight. He recalled a time when Beijing attracted graffiti artists from around the world, even allowing graffiti on subways. In 2008, the government promoted graffiti as a form of urban decoration, but he acknowledged that this period had long since ended.\r In 2020, during the Black Lives Matter protests following the death of George Floyd, Exas felt compelled to take action. Along with his crewmate, Elvis, he founded a graffiti crew called "Yellow Peril," with the intention of supporting graffiti in Asian languages. The two had long wanted to create such a crew, and the moment seemed right. Exas explained that, since he listened to rap music and engaged with Black culture, he wanted to show solidarity through his work. The name "Yellow Peril" had historically been a xenophobic term used to describe Asian immigrants but had been reclaimed during the 1960s civil rights movement by Asian American activists, who aligned with Black power movements like the Black Panthers.\r Despite the name's activist roots, Exas acknowledged that its layered history made it difficult to communicate its meaning across different cultures. He noted that in China, many people misinterpreted "Yellow Peril" as an insult if they searched for it online, unaware of its activist connotations, leading to significant backlash, including hate mail. He also produced T-shirts featuring the slogan, but some of his European crewmates were uncomfortable wearing them, concerned that a white person wearing a "Yellow Peril" shirt might be misinterpreted as racist. As a result, Exas began limiting the use of the full phrase to private settings, using only the abbreviation "YP" in public. Following the surge of anti-Asian hate crimes in Western countries, the message behind Yellow Peril gained a greater sense of urgency. Exas expressed his desire to show that Chinese or Asian individuals should not feel afraid or ashamed and could instead take pride in their identity. Despite this, he concluded on a pessimistic note, expressing doubt that graffiti could enact significant change."""@en ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:hasTag "Exas"@en, "灵丹"@zh, "Língdān"@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P1412 , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Zeit 時間 " ; wdt:P27 ; wdt:P361 ; wdt:P569 "1993"^^xsd:gYear ; wdt:P800 ; wdt:P856 ; wdt:P937 ; sch:thumbnailUrl ; write:description """Zeit 時間 is a graffiti artist, in his thirties, whose work is deeply intertwined with themes of time and cultural identity. He uses the tags "時間" (the Chinese character for "time," shijian 时间 in Mandarin) and "zeit" (the German word for "time"). He initially adopted these aliases to obscure his identity when he began his graffiti journey abroad in 2009. His artistic evolution was sparked by his discovery of graffiti through the influential book Spraycan Art during his studies overseas.\r Currently residing in southern China, Zeit 時間 is engaged with the global graffiti scene and is affiliated with several graffiti crews, including FEK, 2G, STH, and YP. \r His practice primarily involves the use of spray paint, roller paint, and ink, blending traditional graffiti techniques with influences from Chinese calligraphy—a skill he developed during his childhood. This background in calligraphy significantly shapes his artistic approach, allowing him to explore the dynamic interaction between form, movement, and expression.\r Zeit 時間's primary goal in creating graffiti is to engage in what he terms "public vandalism" or "art vandalism," aiming to make art accessible to a broader audience. He advocates for artistic disruption that brings creativity directly to the streets, challenging conventional boundaries of art presentation.\r While acknowledging that the graffiti scene in China is still in its early stages compared to other regions, Zeit 時間 sees the use of Chinese characters as a powerful tool for creating distinctive, culturally integrated graffiti. He believes that Chinese graffiti can incorporate traditional decorative elements and ethnic patterns, setting it apart from Western styles. Although the complexity of Chinese characters may sometimes pose challenges in terms of legibility, he views this as an opportunity for innovation and growth within the graffiti movement.\r Zeit 時間 is part of a new wave of Chinese graffiti artists contributing to the development of this emerging culture. He collaborates with notable teammates like Donis, Asko, and Wreck, as well as Chinese artists such as 气 (Qi) and 灵丹 (Lingdan), each playing a crucial role in shaping the future of graffiti in China."""@en ; write:hasCalligraphicTraining "School"@en ; write:hasTag "Zeit"@en, "時間 "@zh, "Shíjiān"@zh-Latn ; sch:image . a wd:Q4502142 ; wdt:P1071 ; wdt:P127 ; wdt:P1476 "United Nations - Babel of the Millennium (联合国 - 千禧年的巴比伦塔)"@en, "联合国 - 千禧年的巴比伦塔"@zh, "Liánhéguó - Qiān xǐ nián de Bābǐlún tǎ"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , , , , ; wdt:P186 , ; wdt:P2048 "22.9 m" ; wdt:P2049 "10.3 m" ; wdt:P462 , ; wdt:P571 "1999"^^xsd:gYear ; wdt:P856 , , ; wdt:P941 , ; sch:thumbnailUrl ; write:description "This installation is part of the series \"United Nations\" by Gu Wenda. It was exhibited at the San Francisco Museum of Modern Art in 1999. The artist creates a tower entirely made of human hair collected from 325 barber shops and hair salons from 18 countries from every continent. The hair has been woven into what appears to be a text, but all of these texts are illegible. They are based on Chinese, English, Arabic and Hindi; there are also fragments of English language words but in fact none of them could be read, and texts actually don't make full sense. This is why this artwork is called \"Babel of the Millennium\", referencing to the biblical story of the Tower of Babel from the Genesis. This artwork is a contemporary interpretation of this story contextualized in a global world where we understand each other but only in fragments misunderstanding the subtext and nuances of language. The utopia of achieving unity within humanity may never be realized in reality, but can become possible through art." ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image . a wd:Q7725310 ; wdt:P1071 , , , , , , , , , , , , , , , ; wdt:P1476 "United Nations (联合国)"@en, "联合国"@zh, "Liánhéguó"@zh-Latn ; wdt:P170 ; wdt:P580 "1993"^^xsd:gYear ; wdt:P582 "2004"^^xsd:gYear ; write:description "In 1993 Gu Wenda started a global art project that took him across five continents, selecting twenty-one countries and using over a million strands of hair from local inhabitants to create monumental installations. These works aim to capture the unique identities of each place, while creating a transcultural, hybrid, and syncretic network of \"united and unified nations.\" In this vision, various scripts, such as Chinese, English, Arabic, Hindi, etc., are transformed into pseudo-scripts, no longer essential for human understanding. The utopia of achieving unity within humanity may never be realized in reality, but can become possible through art." ; write:includesArtwork . a wd:Q17514 ; wdt:P1476 "Wood Dragon (灵丹)"@en, "灵丹"@zh, "Língdān"@zh-Latn ; wdt:P170 , ; wdt:P180 , , ; wdt:P186 , ; wdt:P462 , , , , , , , ; wdt:P571 "2024-02"^^xsd:gYearMonth ; wdt:P941 , ; write:description """This artwork was completed in February 2024, during the Year of the Wood Dragon, which began on February 10, 2024, and will end on January 28, 2025. \r The Chinese Dragon (loong/long 龙) is a mythical creature, and the only fictional animal among the twelve zodiac signs. It is composed of nine animals: the body of a snake, the horns of a deer, the head of an ox, the mouth of a crocodile, the claws of an eagle, and the scales of a fish. In Chinese culture, the dragon holds a highly esteemed position, symbolizing auspiciousness and imperial power since ancient times.\r When the element of Wood is combined with the Dragon, it brings qualities like growth, creativity, and flexibility into the Dragon's already strong nature.\r In this piece, the graffiti artist Exas once again employs a distinctive technique, transforming the two characters of his Chinese tag Lingdan 灵丹, which means "elixir" or "magic pill," into animated "puppets." Through this zoomorphic transformation, the characters themselves become dynamic and lifelike, as if animated with the spirit of the dragon. Zoomorphism, the process by which letters or characters are given animal-like forms, plays a central role in this artwork. Exas' interpretation of the characters takes inspiration from the concept of letterform illustration, where the shapes of letters or symbols are designed to resemble living beings, whether human or animal. This method effectively bridges language with visual art, allowing the written word to acquire physicality and presence.\r What stands out in this animation is the striking contrast between warm and cool tones. The dragon's body is depicted in vibrant red, while its flame-like tentacles are rendered in shades of sky blue, creating a dramatic interplay of colors. Interestingly, the dragon’s tail takes on the appearance of a frozen tree, enhancing the contrast between fire and ice.\r The forms themselves are rounded yet sharp, embodying both fluidity and precision, much like the dragon’s claws and teeth. As in traditional calligraphic compositions, Exas masterfully juxtaposes Yin and Yang elements: heat and cold, water and fire, blending opposing forces through chromatic contrast and symbolic imagery. This tension between elements ‒ sharp and soft, warm and cold ‒ imbues the artwork with a deeper, dualistic narrative, symbolizing balance in contrast."""@en ; write:hasChengyu false ; write:hasChineseConcept ; write:hasChineseVisualElement ; write:hasColophon false ; write:hasGraffitiGenre ; write:hasGraffitiStyle , , , ; write:hasGraffitiType , ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Chinese Calligraphy Meets Shamanic Music - Artwork"@en ; wdt:P170 ; wdt:P180 ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2018-03-28"^^xsd:date ; wdt:P941 ; sch:thumbnailUrl ; write:derivesFrom ; write:description """This artwork by Silvio Ferragina was created during the performance "Calligraphy Meets Shamanic Music". Centered around the voice of Tuvan shamanic singer Sainko Namtchylak, the performance becomes an immersive ritual, where sound and sign intertwine in a spiritual and meditative space. At the center of the room, a white vertical scroll becomes the stage for Ferragina’s gesture. To the hypnotic cadence of Sainko’s voice, the artist transcribes select verses from the Heart Sutra, a foundational text of Mahayana Buddhism, using a range of traditional Chinese calligraphic styles: seal script (zhuanshu), cursive script (caoshu), and regular script (kaishu). These lines are: "Form is not different from emptiness. Emptiness is not different from form. Form is emptiness. Emptiness is form". These verses have previously been explored by the artist in an earlier performance with Alessandro Cerino in Hangzhou (2016), and are here reactivated in a new sensory and emotional context. During the act of writing, Silvio Ferragina employs a unique variation of the feibai (flying white) technique, using a dry brush to trace the characters, which he then soaks in ink and lets drip spontaneously onto the paper. This fusion of brushwork and dripping recalls elements of action painting, blurring the boundary between writing and abstraction, control and chance. Each stroke responds intuitively to the timbre, rhythm, and emotional depth of the music. The result is a visual meditation in motion—one in which the artist’s movements and the sonic environment are inextricably linked. The calligraphy does not merely illustrate the sutra; it embodies it. The artwork becomes a channel through which the philosophical concept of emptiness is not only represented but experienced—both by the artist and the audience.\r """@en ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; write:attributedTitle "CWU Music and Calligraphy (水、止、木、目)" ; write:description "The characters, which are broken down and created with a pen, are inspired by the inscriptions on oracle bones. These characters are: shui 水 (water) zhi 止 (to/only) mu 木 (wood) and mu 目 (eye). Animal figures can also be glimpsed in the work, such as deer heads. The lines that make up the draft can be both vertical and horizontal, as if to reproduce the movements of the elements of nature."@en ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; write:isUnitOf , , ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:transcriptionAndTranslation """water\r only/to/until\r wood\r eye"""@en, """水\r 止\r 木\r 目"""@zh, """shuǐ\r zhǐ\r mù\r mù"""@zh-Latn ; write:vectorisedOrDigitised false . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Music and Calligraphy (音乐与书写) - Artwork"@en, "音乐与书写"@zh, "Yīnyuè yǔ shūxiě "@zh-Latn ; wdt:P170 ; wdt:P180 , ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2008-01-13"^^xsd:date ; write:derivesFrom ; write:description """This artwork by Pu Lieping was created during a musical performance held at the Florida Gulf Coast University. Three guitarists, students at the university, performed music by George Gershwin and Edward Rizzo. In response to the music, Pu Lieping painted directly onto a long scroll of paper using brushes of varying sizes dipped in black ink. The resulting calligraphic lines, fine and vibrant, seem to visually echo the rhythm and flow of the music, as though composing a parallel visual score. The artwork becomes a synesthetic dialogue between sound and image, where ink moves to the beat of melody and harmony.\r This work visually incorporates elements developed in a preparatory sketch made the day before the performance, on January 12. That initial draft, drawn in pen on a piece of Polo Ralph Lauren wrapping paper, featured deconstructed Chinese characters inspired by oracle bone script: shui 水 (water); zhi 止 (to/only); mu 木 (wood) and mu 目 (eye).\r These characters were reinterpreted and reproduced within the live performance artwork, embedded into the composition as visual and symbolic anchors. Also present are suggestive animal figures—such as deer heads—and gestural lines arranged both vertically and horizontally, evoking the fluid, elemental motion of nature. The work thus becomes a synthesis of musical energy, ancient writing, and natural imagery.""" ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a wd:Q7725310 ; wdt:P1071 , ; wdt:P1476 "Brush Strokes Series (毛笔抚摩系列)"@en, "毛笔抚摩系列"@zh, "Máobǐ fǔmó xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "2002"^^xsd:gYear ; wdt:P582 "2007"^^xsd:gYear ; sch:thumbnailUrl ; write:description "In this series, Wu Wei uses a big dried brush to \"caress\" human bodies, almost naked . Instead of traditional calligraphy, he doesn't use ink and paper to write characters. The artist makes a critique at the \"comforting pleasantness\" of the traditional Chinese art: the traditional culture is embodied by the brush, which produces a softening and conforting pleasantness on the skin. Through the ostentation of the body and the use of the brush as a \"tool of pleasure\", Wu Wei wants to provoke a state of shock in order to shake the viewer from the social and existential torpor in which he lives. According to Wu Wei, Chinese art is still strongly anchored to old styles and traditional tools and methods, so the artist is not free to express himself. The only way to break with the tradition is to overturn traditional tools and methods in a \"sensual\" provocative way."@en ; sch:image ; write:includesArtwork , . a wd:Q184485 ; wdt:P1132 2 ; wdt:P1476 "Brush Array · Woman's Body (毛笔布阵 · 女人体)"@en, "毛笔布阵 · 女人体"@zh, "Máobǐ bù zhèn · nǚ réntǐ"@zh-Latn ; wdt:P175 ; wdt:P179 ; wdt:P180 , , , ; wdt:P186 wd:Q23852, wd:Q614467 ; wdt:P276 ; wdt:P585 "2002"^^xsd:gYear ; wdt:P941 ; write:createsArtwork ; write:description "In this demonstrative performance, Wu Wei throws a lot of brushes on a naked woman body. Wu Wei deprives Chinese calligraphy of his traditional tools, methods and meanings: he doesn't uses paper and ink, the brush is no longer a calligraphic tool and the human body is only a deposit of the \"throwed brushes\". The artist makes a critique at the \"conforting pleasantness\" of the traditional Chinese art: the traditional culture is embodied by the brush, which produces a softing and conforting pleasantness on the skin. Through the ostentation of the body and the use of the brush as a \"tool of pleasure\", Wu Wei wants to provoke a state of shock in order to shake the viewer from the social and existential torpor in which he lives. According to Wu Wei, Chinese art is still strongly anchored to old styles and traditional tools and methods, so the artist is not free to express himself. The only way to break with the tradition is to overturn traditional tools and methods in a \"sensual/sexual\" provocative way."@en ; write:hasPerformingArtworkType . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Brush Array Series (毛笔布阵系列)"@en, "毛笔布阵系列"@zh, "Máobǐ bù zhèn xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "2002"^^xsd:gYear ; wdt:P582 "2003"^^xsd:gYear ; sch:thumbnailUrl ; write:description """This series is composed of two parts: "Brush Array · Woman's Body" (毛笔布阵 · 女人体, 2002) and "Brush Array · Man's Body" (笔布阵 · 男人体, 2003). The artist makes a critique at the "comforting pleasantness" of the traditional Chinese art: the traditional culture is embodied by the brush, which produces a softening and comforting pleasantness on the skin. Through the ostentation of the body and the use of the brush as a "tool of pleasure", Wu Wei wants to provoke a state of shock in order to shake the viewer from the social and existential torpor in which he lives. According to Wu Wei, Chinese art is still strongly anchored to old styles and traditional tools and methods, so the artist is not free to express himself. The only way to break with the tradition is to overturn traditional tools and methods in a "sensual/sexual" provocative way.\r In addition to these parts, Wu Wei creates another work entitled "Encounter with the Brush on a Grassland" (毛笔交遇 · 草地, 2002). In this work, brushes are embedded in the ground: they are similar to stakes of an imaginary fence. \r """@en ; sch:image ; write:includesArtwork , . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Cursive Wild/Grass - Artwork"@en ; wdt:P170 ; wdt:P180 , ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2006"^^xsd:gYear ; write:derivesFrom ; write:description "This artwork is realized during the performance “Cursive/Wild Grass”. It was held on 25 February 2006 at the Vision Festival of New York. The performer is Yin Mei herself, accompanied by the music realized by the American jazz multi-instrumentalist Joe McPhee (b. 1939). Yin Mei is dressed in black and is lying on a white paper sheet. She starts to move, snaking and rolling around on the paper. In a second step, she drenches her body in ink, starting to move as before but leaving traces of ink on the paper through her body movements. With her hands and feet, she performs circular and spiral movements, creating both linear and spotty smears of ink, becoming a calligraphic brush. The performance unfolds as a meditative act, where movement, ink, and paper merge in a contemplative expression of bodily calligraphy."@en ; write:hasVisualArtworkType , , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P462 ; write:attributedTitle "CWU 1 Peony Dreams: On the Other Side of Sleep (lines)" ; write:description "This CWU is part of the dance theater piece realized by Yin Mei at the “Ringling Historic Asolo Theater” (Florida) in January 2020. It consists of various set of lines created during the various dance performances." ; write:directionality "Free" ; write:hasBackgroundColour , ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; write:isUnitOf ; write:madeUsingTool ; write:relatedUnit , . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P282 ; wdt:P462 , ; wdt:P9302 ; write:attributedTitle "CWU 2 Peony Dreams: On the Other Side of Sleep (signs)" ; write:description "This CWU is part of the dance theater piece realized by Yin Mei at the “Ringling Historic Asolo Theater” (Florida) in January 2020. It consists of a series of meaningful Chinese characters made on a sheet of paper placed on a panel during the performance, but they are immediately covered with ink, making them illegible."@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)", "Set of signs (illegible)" ; write:isUnitOf ; write:madeUsingTool ; write:relatedUnit , . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; write:attributedTitle "CWU 3 Peony Dreams: On the Other Side of Sleep (signs)" ; write:description "This CWU is part of the dance theater piece realized by Yin Mei at the “Ringling Historic Asolo Theater” (Florida) in January 2020. It consists of a series of meaningful Chinese characters made on the body of one of the dancers during the performance, but they appear illegible."@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of signs (illegible)" ; write:isUnitOf ; write:madeUsingTool ; write:relatedUnit , . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Brush Array · Woman's Body (毛笔布阵 · 女人体) - Photographs"@en, "毛笔布阵 · 女人体"@zh, "Máobǐ bù zhèn · nǚ réntǐ"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , ; wdt:P462 , ; wdt:P571 "2002"^^xsd:gYear ; wdt:P941 ; sch:thumbnailUrl ; write:derivesFrom ; write:description "The conceptual photograph attests the performance \"Brush Array - Woman's Body\" in which Wu Wei throws the brushes to cover the body of a naked woman. The photograph is composed of four frames of the performance."@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; sch:image . a wd:Q17514 ; wdt:P1476 "The tags \"Real\" and \"Restored to Ashes\" (意实-恢烬)"@en, "意实 - 恢烬"@zh, "意實 - 恢燼"@zh, "Yì shí - huī jìn"@zh-Latn ; wdt:P170 ; wdt:P180 , , ; wdt:P186 , , ; wdt:P2048 "1.8 m"@en ; wdt:P2049 "5.4 m"@en ; wdt:P276 ; wdt:P462 , , ; wdt:P571 "2023-04-02"^^xsd:date ; wdt:P941 ; sch:thumbnailUrl ; write:description """The artwork "The tags "Real" and "Restored to Ashes" (意实-恢烬)" by the artist Beer1ne, created on April 2, 2023, in Wuhan, China, is an evocative piece measuring approximately 5.4 meters by 1.8 meters. Utilizing latex paint on a wall and employing both aerosol paint and a roller brush, the artist ingeniously combines traditional and modern elements in this work.\r At the forefront of the piece are the characters "Yishi 意實," rendered in the Qin Dynasty seal script style, and "Huijin 恢烬", depicted in traditional Chinese characters using an ignorant style. This striking juxtaposition serves to engage viewers not only visually but also conceptually, as it hints at a dialogue between history and contemporary artistic expression. The artwork is characterized by a bold initial outline in red, followed by a secondary white outline, culminating in a black fill, all of which contribute to its dynamic visual impact.\r In one collaborative piece, the artist incorporated the tags "Real" and "Restored to Ashes" (意实-恢烬), a unique instance due to the scale of the piece and the collaboration requirement, resulting in an expansive conceptual meaning.\r "Yishi 意实" emerged as a tag during the artist’s high school years, specifically during an intensive art training period in an art studio. Initially, his graffiti leaned toward wildstyle, yet after prolonged practice in this style, he encountered creative limitations. Seeking a fresh, non-traditional approach, he shifted to writing in Chinese. Although he previously used "pijiu 啤酒" (the translation of "beer") as a Chinese tag, he eventually created "yishi 意实" to represent a more authentic and meaningful identity. The origins of "Yishi 意实" trace back to this period of exploration, when the artist was interested in a stream-of-consciousness style. His formal art training included traditional Western figurative painting, which he embraced enthusiastically. Inspired by the idea of integrating Eastern and Western elements, he considered the relationship between "yi 意" (concept or idea) and "shi 实" (reality or substance). In traditional painting, Chinese styles emphasize the conceptual, while Western art often focuses on realism. This thematic duality of "idea and reality" in art—where ideas represent the soul, the ethereal, and the mysterious, while reality represents the physical, stable, and clear—was central to his creative direction. Naming his work "Yishi" symbolized his pursuit of a personal style that could establish his unique presence within the evolving timeline of his graffiti journey.\r The other tag "Huijin 恢燼" conveys the idea of being "restored to ashes" or "returning to dust." This duality reflects Beer1ne's personal journey, as the tag 恢烬 emerged during a tumultuous emotional period when he resonated with the symbolism of "ash," representing both decay and the remnants of a once-vibrant existence.\r Through this lens, the artwork becomes a poignant metaphor for desolation interwoven with the potential for renewal. Just as ash can settle into the earth or drift with the wind, Huijin embodies a cycle of rebirth, suggesting that from the remnants of what was, something new may arise. The piece captures a sense of melancholia while also expressing an openness to change, inviting viewers to reflect on their own experiences of loss and transformation.\r In a sense, Beer1ne’s work represents an improvisational response to the materials at hand, leading to a creative exploration of identity and existence. The incorporation of both traditional calligraphy and contemporary graffiti styles not only highlights the artist’s versatility but also emphasizes the ongoing dialogue between past and present, inviting contemplation on the nature of meaning in a world constantly in flux."""@en ; write:hasChengyu false ; write:hasColophon false ; write:hasGraffitiGenre ; write:hasGraffitiStyle , , , , ; write:hasGraffitiType , , ; write:hasSeal false ; write:hasUnit , ; sch:image ; write:madeUsingTool , . a wd:Q184485 ; wdt:P1132 2 ; wdt:P1476 "Brush Strokes · Woman's Body (毛笔抚摩 · 女人体)"@en, "毛笔抚摩 · 女人体"@zh, "Máobǐ fǔmó · nǚ réntǐ"@zh-Latn ; wdt:P175 ; wdt:P179 ; wdt:P180 , , , ; wdt:P186 wd:Q23852 ; wdt:P276 ; wdt:P585 "2006"^^xsd:gYear ; write:createsArtwork ; write:description "In this demonstrative performance, Wu Wei uses a big dried brush to \"caress\" a naked woman body. In contrast to traditional calligraphy, he doesn't use ink and paper to write characters. The artist makes a critique at the \"conforting pleasantness\" of the traditional Chinese art: the traditional culture is embodied by the brush, which produces a softing and conforting pleasantness on the skin. Through the ostentation of the body and the use of the brush as a \"tool of pleasure\", Wu Wei wants to provoke a state of shock in order to shake the viewer from the social and existential torpor in which he lives. According to Wu Wei, Chinese art is still strongly anchored to old styles and traditional tools and methods, so the artist is not free to express himself. The only way to break with the tradition is to overturn traditional tools and methods in a \"sensual/sexual\" provocative way. "@en ; write:hasPerformingArtworkType ; write:madeUsingTool wd:Q614467 . a wd:Q17514 ; wdt:P1476 "Jiangxi Graffiti (赣涂)"@en, "赣塗"@zh, "赣涂"@zh, "Gàntú"@zh-Latn ; wdt:P170 ; wdt:P186 , ; wdt:P2048 "1.6 m"@en ; wdt:P2049 "1.8 m"@en ; wdt:P276 ; wdt:P462 , , , , , ; wdt:P571 "2022-01-31"^^xsd:date ; wdt:P941 ; sch:thumbnailUrl ; write:description """The artwork titled "Jiangxi Graffiti (赣涂)" was created on January 31, 2022, in Huizhou. It represents a significant fusion of traditional Chinese elements and modern graffiti. Painted on a wall surface using spray paint, the piece spans approximately 1.6 meters by 1.8 meters and is composed of two distinct parts. This graffiti creation was part of a Jiangxi-themed graffiti event, emphasizing the artist’s connection to the cultural and geographical identity of Jiangxi Province.\r The central focus of the artwork is the Chinese characters "Gantu 赣塗," where "gan" signifies Jiangxi Province, often abbreviated in this way in local discourse, and "tu" denotes painting or coating, often associated with the act of graffiti. Together, the characters could be translated as "Jiangxi Graffiti," symbolizing an artistic homage to the region.\r The style of the Chinese characters combines regular script (kaishu 楷书) with an ignorant style, characterized by a spontaneous, raw execution that emphasizes expression over refinement. This juxtaposition of traditional calligraphic form with modern graffiti technique creates a dynamic visual contrast, highlighting Beer1ne's ability to integrate cultural heritage within contemporary street art. The regular script provides a sense of formality and structure, while the ignorant style adds an element of unrestrained creativity, evoking the spontaneity that defines graffiti.\r The use of stars, dots, and LED-inspired light patterns in the surrounding environment adds an additional layer of energy and modernity to the artwork. These elements create a vibrant atmosphere that complements the boldness of the characters. The left panel, rendered in a striking yellow and red color scheme, draws attention to the textual elements, while the right panel, dominated by cooler tones of blue and green, balances the composition with abstract forms and expressive graffiti lettering.\r Within the character "gan 赣," specifically in the radical "li 立 (stand)," there are two characters "yishi 意實 (意实)," meaning “real”: “yi 意” is rendered in Jiaguwen (oracle bone script), while “shi 實” is written in Xiaozhuan (seal script). Both characters are rendered in a golden hue, evoking the appearance of LED lights and dots.\r In its entirety, "Jiangxi Painting" reflects a nuanced dialogue between traditional Chinese calligraphy and modern graffiti culture. It underscores the artist’s regional roots in Jiangxi Province while exploring the broader possibilities of contemporary urban art. The interplay between structured calligraphy and spontaneous graffiti emphasizes both continuity with the past and innovation, making it a standout piece in Beer1ne’s artistic repertoire."""@en ; write:hasChengyu false ; write:hasChineseConcept ; write:hasColophon false ; write:hasGraffitiGenre ; write:hasGraffitiStyle , , , ; write:hasGraffitiType , , ; write:hasOtherVisualElement , , ; write:hasSeal false ; write:hasUnit , ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Brush Strokes · Woman's Body (毛笔抚摩 · 女人体) - Photographs"@en, "毛笔抚摩 · 女人体"@zh, "Máobǐ fǔmó · nǚ réntǐ"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , ; wdt:P462 , , ; wdt:P571 "2006"^^xsd:gYear ; sch:thumbnailUrl ; write:derivesFrom ; write:description "This conceptual photograph attests the performance \"Brush Strokes\" in which Wu Wei uses the brush to \"caress\" the body of a naked woman. The colors of the photograph are similar to traditional calligraphy, but are used in a new way: the handle of the brush is black like ink, the bristels are white like paper, and the mattress where the woman is lying is red like seal(s). The photograph is composed of nine frames of the performance. "@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; sch:image . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 X-Evolution (X-planned)" ; write:description """This CWU is composed of an X combined with a red “TT” seal, which together form the tag “TxT”. The large black X, accompanied by the small red “TT” seal, is set against a yellow background.\r The X loosely evokes the visual qualities of regular script (kaishu), especially in its straight, upright strokes and relatively controlled structure. Its symmetrical, compact configuration gives the character a stable and somewhat rigid appearance, while the sharp intersections of the strokes introduce a distinctly contemporary, graphic quality. The juxtaposition of the black X with the red seal further recalls the traditional relationship between black calligraphic writing and red seals in Chinese calligraphy, reinterpreted here within the visual vocabulary of graffiti and characteristic of the Straight/Roller style."""@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasGraffitiStyle , , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool , ; write:relatedUnit , ; write:transcriptionAndTranslation "TT"@en, "TxT"@en, "X"@en . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 X-Evolution (X-semi-planned)" ; write:description "This CWU is composed of an X combined with a red “TT” seal, which together form the tag “TxT”. The main X is visually articulated into three additional X forms, creating a repeated and interconnected configuration. The X begins to exhibit a brushstroke effect at the end of the stroke, introducing a more fluid and gestural quality into the otherwise straight and controlled structure. This combination produces a hybrid visual language, merging the brushstroke qualities associated with kaishu with the Roller/Straight features of graffiti writing, accompanied by two red tag/seal elements."@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasGraffitiStyle , , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool , ; write:relatedUnit , ; write:transcriptionAndTranslation "TT"@en, "TxT"@en, "X"@en . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 3 X-Evolution (X-free)" ; write:description "This CWU is composed of an X combined with a red “TT” seal, which together form the tag “TxT”. The main X is visually articulated into three additional X forms, creating a repeated and interconnected configuration. The composition resembles a calligraphic inscription executed with brush and ink, while retaining the regular and controlled characteristics of the regular script (kaishu). It is accompanied by a single red tag/seal, which further reinforces its calligraphic visual language."@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasGraffitiStyle , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool , ; write:relatedUnit , ; write:transcriptionAndTranslation "TT"@en, "TxT"@en, "X"@en . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "Encounter with the Brush · Hand (毛笔交遇 · 手)"@en, "毛笔交遇 · 手"@zh, "Máobǐ jiāo yù · shǒu"@zh-Latn ; wdt:P175 ; wdt:P179 ; wdt:P180 , , , , ; wdt:P276 ; wdt:P585 "2002"^^xsd:gYear ; write:createsArtwork ; write:description "In this performance, Wu Wei caresses a big brush and holds it tightly in his hands. The brush is no longer the tool for calligraphy, but it becames the passive subject of the performance. In this case the brush became a \"tool of pleasure\" for the artist himself, who practises a kind of auto-eroticism. The artist makes a critique at the \"pleasantness\" of the traditional Chinese art, that it is seen as a auto-conforting practise: the traditional culture is embodied by the brush, which produces a softing and conforting pleasantness on the skin. Through the use of the brush as a \"tool of pleasure\", Wu Wei wants to provoke a state of shock in order to shake the viewer from the social and existential torpor in which he lives. According to Wu Wei, Chinese art is still strongly anchored to old styles and traditional tools and methods, so the artist is not free to express himself. The only way to break with the tradition is to overturn traditional tools and methods in a \"sexual\" provocative way."@en ; write:hasPerformingArtworkType ; write:madeUsingTool wd:Q23852, wd:Q614467 . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Status (状态)"@en, "状态"@zh, "Zhuàngtài"@zh-Latn ; wdt:P170 ; wdt:P580 "1994"^^xsd:gYear ; sch:thumbnailUrl ; write:description """The series "Status” includes various subseries of abstract works, each with distinct traits and stylistic feature. Qiu Zhenzhong already produced Status works as early as 1994, then over the years the artist produced Status I, II, III, IV (2015), V (2015), VII (2003).\r The pieces of this series consists of structures of abstract lines / calligraphic brushstrokes incorporated into painting.\r """ ; sch:image ; write:includesArtwork . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Encounter with the Brush Series (毛笔交遇系列)"@en, "毛笔交遇系列"@zh, " Máobǐ jiāo yù xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "2002"^^xsd:gYear ; wdt:P582 "2003"^^xsd:gYear ; sch:thumbnailUrl ; write:description "In this series, Wu Wei uses the brush in various ways: for example, he holds it in his hands, touches a tongue, a foot, a buttock, a pubis, a breast of a statue or petals of a flower; the tip of the brush can also be placed on a toy car, on a flag or inside a condom. The artist makes a critique at the \"conforting pleasantness\" of the traditional Chinese art: the traditional culture is embodied by the brush. The brush became a \"tool of pleasure\" for the the artist himself or for a passive subject/object. In the first case, the artist practises a kind of auto-eroticism, in the second case, the subject/object is sexually stimulated. According to Wu Wei, Chinese art is still strongly anchored to old styles and traditional tools and methods, so the artist is not free to express himself. The only way to break with the tradition is to overturn traditional tools and methods in a \"sensual/sexual\" provocative way."@en ; sch:image ; write:includesArtwork , . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Word Series (语词系列)"@en, "语词系列"@zh, "Yǔcí xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "1988"^^xsd:gYear ; wdt:P582 "1989"^^xsd:gYear ; sch:thumbnailUrl ; write:description "Word Series (1988–1989) presents a sequence of compound words beginning with the morpheme “triangle” (sanjiao 三角), written horizontally and drawn from a Chinese dictionary. These words are semantically unrelated, forming a list without any narrative or logical connection. Qiu Zhenzhong sees this humorous fragmentation as a way to reflect on contemporary linguistics, philosophy, Freudian theory, and the tension between order and absurdity in daily life. The repetition of “triangle” creates a distinctive visual rhythm and spatial pattern, inviting viewers to see language as both a visual and psychological experience." ; sch:image ; write:includesArtwork . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Signatures Series (众生系列)"@en, "众生系列"@zh, "Zhòngshēng xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "1988"^^xsd:gYear ; wdt:P582 "1989"^^xsd:gYear ; sch:thumbnailUrl ; write:description "Signatures Series uses personal and ritual elements, like repeated signatures in \"Diary\" ( Riji 日记) or chanting in \"Grandmother\" (祖母). The series blends calligraphy, memory, and abstraction to reflect human connection and tradition. In Diary, he composes daily signatures into a work that captures subtle shifts in mood through variations in brushstroke. In Grandmother , the repeated invocation \"Homage to Amitābha Buddha\" (Namo Amituofo 南无阿弥陀佛) becomes a sonic and visual memory. The rhythm of her indistinct, continuous chanting is echoed in the fluid and restrained pulse of the brushwork. This suggests a deep, intuitive engagement with tradition — one that bypasses scholarly precision in favor of lived, embodied experience." ; sch:image ; write:includesArtwork . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Characters to Be Deciphered Series (代考文字系列)"@en, "代考文字系列"@zh, "Dài kǎo wénzì xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "1988"^^xsd:gYear ; wdt:P582 "1989"^^xsd:gYear ; sch:thumbnailUrl , , ; write:description "\"Characters to Be Deciphered Series\" explores the visual potential of Chinese characters. Qiu Zhenzong uses ancient, undeciphered carved on pre-Qin dynasty (pre-221 B.C.) coins to write what appears as lines and strokes on paper. Unlike traditional calligraphy, where semantic meaning often interferes with the spatial and rhythmic qualities of the work, these indecipherable signs avoid semantic interference liberating the form from content. The calligraphic abstraction derived from a deliberate selection of unknown glyphs and allows the artist full imaginative engagement with line, form, and spatial composition. Thus, the series shifts focus from textual legibility to visual and spatial freedom." ; sch:image , , ; write:includesArtwork . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Encounter with the Brush · Hand (毛笔交遇 · 手) - Photograph"@en, "毛笔交遇 · 手"@zh, " Máobǐ jiāo yù · shǒu"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , , ; wdt:P462 , , ; wdt:P571 "2002"^^xsd:gYear ; sch:thumbnailUrl ; write:derivesFrom ; write:description """In this conceptual photograph, Wu Wei holds the brush tightly in his hand as to reproduce a kind of masturbation. The brush is no longer the tool for calligraphy, but it becames the passive subject of the performance and a "tool of pleasure" for the performer. The colors of the photograph are similar to traditional calligraphy, but are used in a new way: the handle of the brush is black like ink, the bristels are black and white like ink on paper, and the background of the photograph is red like seal(s). \r The performance produces other similar conceptual photographs of different moments of the performing act."""@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; sch:image . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "East and West, past and present (东西今古)"@en, "东西今古"@zh, "Dōng xī jīn gǔ"@zh-Latn ; wdt:P170 ; wdt:P186 , ; wdt:P2048 "96 cm" ; wdt:P2049 "66 cm" ; wdt:P462 , ; wdt:P571 "2024-04-08"^^xsd:date ; wdt:P608 ; sch:thumbnailUrl ; write:description "East and West, past and present is a calligraphic work realized by Zhang Aiguo in 2024. The artist presents the four characters 东西今古 in the middle. Their meaning is \"East and West, past and present\" (dong xi jin gu 东西今古) combining together spatial and temporal axes. " ; write:hasVisualArtworkType ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Image of Dots and Calligraphic Brushstrokes No. 1: Insect-Eroded Wood ( 点画意象系列之一: 虫蚀木)"@en, "点画意象系列之一：虫蚀木 "@zh, "Diǎnhuà yìxiàng xìliè zhī yī: Chóng shí mù"@zh-Latn ; wdt:P170 ; wdt:P180 , , ; wdt:P186 , ; wdt:P2048 "190 cm" ; wdt:P2049 "190 cm" ; wdt:P462 , , ; wdt:P571 "2005"^^xsd:gYear ; wdt:P608 ; sch:thumbnailUrl ; write:description "\"Series of the Image of Dots and Calligraphic Brushstrokes No. 1: Insect-Eroded Wood\" by Zhang Aiguo draws on the style of small seal script, characterized by its uniformity of line. Zhang Aiguo adopts a deconstructive approach to Chinese characters, reinterpreting classical Han Dynasty inscriptions. Drawing on delicate, fluid, and vigorous lines of the Yuan An Stele, Zhang enhances these formal qualities into a distinctly modern calligraphic language. According to the artist, \"beyond Chinese characters, the most fundamental elements that sustain Chinese calligraphy are dots and strokes. Dots and strokes manifest externally, while brushwork serves as their intrinsic driving force, making brushwork the very soul of calligraphy\" (2005, 30). The interwoven, meandering strokes disrupt the legibility of the original character structures, raising a fundamental question: whether modern calligraphy can exist independently of Chinese characters." ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "DA KAI TONG - Exhibition of Zhang Aiguo (大开通——张爱国书法作品展)"@en, "大开通——张爱国书法作品展"@zh, "Dà kāitōng——Zhāng Aiguó shūfǎ zuòpǐn zhǎn"@zh-Latn ; wdt:P1640 , ; wdt:P276 ; wdt:P580 "2022-08-30"^^xsd:date ; wdt:P582 "2022-10-07"^^xsd:date ; write:description """"Da Kai Tong - Exhibition of Zhang Aiguo Calligraphy" is the title of two exhibitions of artworks by Zhang Aiguo. The first exhibition was held at the Guan Shanyue Art Museum in Shenzhen from August 30 to October 7, 2022. The second exhibition took place at the Shenzhen University Museum from March 10 to 23, 2023. Both exhibitions were curated by Lu Dadong and Cao Yingwang.\r The meaning of "Da Kai Tong" is "The Great Passage" and refers to an inscription found in a rock carving from the year 63 AD (the sixth year of the Yongping era of the Han dynasty), formally known as "The Rock Inscription of the Opening of the Baoxie Pass by Governor Chu of the Han Dynasty" (Han Chu jun kai tong Banxie dao keshi 汉鄐君开通褒斜道刻石). This inscription is renowned for blending characteristics of two distinct calligraphic styles: the clerical script (lishu) and the seal script (zhuanshu). It is currently preserved in the Hanzhong Museum in Shaanxi Province.\r """ ; write:exhibitedArtwork . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Lu Dadong 鲁大东" ; wdt:P27 ; wdt:P569 "1973"^^xsd:gYear ; wdt:P800 ; wdt:P812 , ; wdt:P937 ; write:description "Lu Dadong, born in 1973 in Yantai, Shandong, is a Chinese artist and calligrapher. He began his artistic education in 1991 at the China Academy of Art, where he majored in calligraphy and seal engraving, later pursuing a master's degree in seal engraving at the same institution. He is a member of the China Calligraphers Association, and associate professor at the International College of the China Academy of Art. His work merges traditional Chinese calligraphy with modern digital and multimedia techniques. Lu Dadong is also the lead vocalist of the Hangzhou-based band Yuren (与人乐队), having released two albums and performing occasionally." ; write:hasCalligraphicTraining "Academic"@en ; write:isCuratorOf . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Ta Yin Drought - Wang Nanming solo exhibition (拓印干旱——王南溟作品展)"@en, "拓印干旱——王南溟作品展"@zh, "Tàyìn gānhàn——Wáng Nánmíng zuòpǐn zhǎn"@zh-Latn ; wdt:P1640 ; wdt:P276 , ; wdt:P580 "2012-05-25"^^xsd:date ; wdt:P582 "2012-06-28"^^xsd:date ; write:description """"Ta Yin Drought - Wang Nanming solo exhibition" was held at the 99°art center Creative Center (99创意中心) of the Institute of Art at Shanghai University (上海大学美术学院) from the 25th May to 28th June 2012. In this exhibition, Wang Nanming showcases his project of conceptual artworks created between the late 1990s and 2009. The exhibitions addresses to ecological issues in China, presenting "Rubbing Drought" and "Taihu Water" and a combination of mounted works, video, and images. The mounted works display the ink rubbings, while the video documents the artist’s process of imprinting on-site, alongside media reports and images related to the realization of "Rubbing drought".\r This exhibition was part of interactive events and was one of the key projects of the 2012 Shanghai New Ink Art Exhibition. This last exhibition was of great significance for advancing the understanding of contemporary ink art, as well as for enhancing the collaboration and interaction between the 99°art center and other art institutions.""" ; write:exhibitedArtwork , , . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Made by Tiande II (天德制造II)"@en, "天德制造II"@zh, "Tiāndé zhìzào II"@zh-Latn ; wdt:P1640 ; wdt:P276 , ; wdt:P580 "2007-03-01"^^xsd:date ; wdt:P582 "2007-04-14"^^xsd:date ; wdt:P856 ; write:description "The exhibition \"Made by Tiande II\" is the sequel to \"Made by Tiande\" held at Chambers Fine Art in 2004. This exhibition was curated by Zheng Shengtian 郑胜天 and held in 2007 at the Chambers Fine Art in New York. Another title for the exhibition is Tiande zai zhizao (天德再制造). For the Digital Series of 2004, Wang Tiande created works where inscriptions in running script were partially obscured by layers of Chinese paper, with freely executed characters burned into the surface. For this exhibition, the artist has extended this technique by creating a six-meter-long scroll depicting the landscape around Mount Gushan in Hangzhou, China. This is accompanied by a series of photographs, each capturing the same imagery through different methods. As Zheng Shengtian notes, when Tiande burns the paper, the \"ashes of words\" are left behind on the studio floor. He gathers these ashes into the shape of mountains, then uses photography and digital tools to create realistic landscapes. While this process may seem playful at first, it carries deep philosophical meaning: the ashes of traditional culture, transformed by the artist, are given new vitality." ; write:exhibitedArtwork , , . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Made by Tiande (天德制造)"@en, "天德制造"@zh, "Tiāndé zhìzào"@zh-Latn ; wdt:P1640 ; wdt:P276 , ; wdt:P580 "2004-09-08"^^xsd:date ; wdt:P582 "2004-10-23"^^xsd:date ; wdt:P856 ; write:description "The exhibition \" Made by Tiande\" held at the Chambers Fine Art in 2004 showcases two series by Wang Tiande: the Digital Series of 2002 and the Chinese Robe Series of 2003. In the Digital Series, calligraphic inscriptions in running script are subtly revealed through layers of Chinese paper, the surface of which is marked by abstract forms burned into the material. This creates a sense of transparency and texture. In contrast, the Chinese Robe Series features traditional robes as canvases for calligraphic gestures. The robes, symbolizing China's rich cultural heritage, are used to convey barely legible messages. These cryptic inscriptions reflect the fading influence of traditional culture, particularly in the context of China's rapid technological advancement in the twenty-first century. The robes, once symbols of cultural identity, now bear these fragile messages, highlighting the tension between the past and the present in contemporary China." ; write:exhibitedArtwork , , , . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells - Artwork 2"@en ; wdt:P170 ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2012-08-10"^^xsd:date ; wdt:P941 ; write:derivesFrom ; write:description "This artwork was created during the concert entitled \"Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells (萨德勒之井中国书法、音乐和舞蹈音乐会)\", an event commissioned by the Chinese government to honour the Summer Olympic Games. It consists of the poem written by Li Binquan entitled “Drinking” (Yinjiu 饮酒) by Tao Yuanming 陶渊明 (365 – 427), a famous scholar in the Eastern Jing Dynasty."@en ; write:hasVisualArtworkType ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells - Artwork 3"@en ; wdt:P170 ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2012-08-10"^^xsd:date ; write:derivesFrom ; write:description "This artwork was created during the concert entitled \"Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells (萨德勒之井中国书法、音乐和舞蹈音乐会)\", an event commissioned by the Chinese government to honour the Summer Olympic Games. It consists of the poem “Prelude to Water Melody” (Shui diao ge tou · mingyue jishi you 水调歌头 · 明月几时有), composed by the the Song dynasty poet Su Shi (1036-1101), who wrote these lyrics while he was drunk and missing his younger brother (Su Zhe) on the Mid-Autumn Festival of the year Bingzhen (1076)."@en ; write:hasVisualArtworkType ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells - Artwork 4"@en ; wdt:P170 ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2012-08-10"^^xsd:date ; wdt:P941 ; write:derivesFrom ; write:description "This artwork was created by Li Binquan during the concert entitled \"Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells (萨德勒之井中国书法、音乐和舞蹈音乐会)\", an event commissioned by the Chinese government to honour the Summer Olympic Games. It consists of the poem “Drinking Alone Beneath the Moon\" (Yue xia duzhuo 月下独酌) by Li Bai, about loneliness and companionship, and the way alcohol blurs the line between the two"@en ; write:hasVisualArtworkType ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells - Artwork 5"@en ; wdt:P170 ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2012-08-10"^^xsd:date ; wdt:P941 ; write:derivesFrom ; write:description "This artwork was created during the concert entitled \"Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells (萨德勒之井中国书法、音乐和舞蹈音乐会)\", an event commissioned by the Chinese government to honour the Summer Olympic Games. It consists of the poem “Qinyuan Spring · Snow” (Qinyuan Chun · Xue 沁园春·雪) written by Li Binquan during the song “Die Libelle, Polka-Mazurka” and composed by Mao Zedong during the Eastern Expedition."@en ; write:hasVisualArtworkType ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells - Artwork 6"@en ; wdt:P170 ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2012-08-10"^^xsd:date ; write:derivesFrom ; write:description "This artwork was created during the concert entitled \"Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells (萨德勒之井中国书法、音乐和舞蹈音乐会)\", an event commissioned by the Chinese government to honour the Summer Olympic Games. It consists of some excerpts from “A Tale of Two Cities” (Shuangchengji 双城记) by the English writer Charles Dickens (1812-1870) written in Chinese. One example is: “It was the best of times, it was the worst of times” (in Chinese “Na shi zui meihao de shidai, na shi zui zaogao de shidai 那是最美好的时代、那是最糟糕的时代”)."@en ; write:hasVisualArtworkType ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Landscript: Revisit n. 2 ( 文字写生: 重游零二)"@en, "文字写生: 重游零二 "@zh, "Wénzì xiěshēng: chóng yóu líng èr"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P2048 "99.5 cm" ; wdt:P2049 "174 cm" ; wdt:P462 , ; wdt:P571 "2002"^^xsd:gYear ; wdt:P856 ; write:description """This work was realized by Xu Bing in 2002 and belongs to the series 'Landscript' ( Wenzi xiesheng 文字写生, 1999-2013) . The artworks of this series are also known as 'Read View' (Du fengjing 读风景). The artist uses Chinese pictographic as pictorial elements to arrange a landscape composition: the characters for 'stone' (shi 石) make up images of rocks, the character for 'tree' (mu 木) makes up trees, for 'clouds' (yun 云) clouds, and so on. In this way, Xu Bing transforms visual images of landscapes into linguistic forms and proposes an original approach to 'read a scene'. \r In this particular work, the pictographic characters are rendered in a dynamic black ink style and arranged into a traditional Chinese landscape painting (shanshui 山水). The composition presents a river winding through the scene, bordered by rocks and trees along its banks. In the background, hills and mountains rise above the river with forested areas and cultivated fields. """ ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "The Movement of Heaven is Powerful (天行健)"@en, "天行健"@zh, "Tiān xíng jiàn"@zh-Latn ; wdt:P170 ; wdt:P180 , , ; wdt:P186 , ; wdt:P2048 "194 cm" ; wdt:P2049 "360 cm" ; wdt:P462 , ; wdt:P571 "2020"^^xsd:gYear ; wdt:P608 ; wdt:P941 ; write:description "This monumental calligraphy was commissioned to Tong Yang-tze by M+ of Hong Kong in 2020 for the opening of the museum. It was displayed in the Main Hall of the museum together with other four calligraphies by Tong Yang-tze all inspired by the I Ching (Yijing 易经, Book of Changes), an ancient Chinese philosophical text. The title of the artwork, that corresponds to the transcription of its calligraphic text, is in fact a phrase from I Ching selected by the calligrapher. Also the contents of the other 4 calligraphies of this group are phrases from the I Ching. All of them reveal the dynamic between humans, nature and cosmic order and are the artist’s reflection on how ancient wisdom applies to the modern world. " ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Renew Oneself Daily (日新)"@en, "日新"@zh, "Rì xīn"@zh-Latn ; wdt:P170 ; wdt:P180 , ; wdt:P186 , ; wdt:P2048 "194 cm" ; wdt:P2049 "360 cm" ; wdt:P462 , ; wdt:P571 "2020"^^xsd:gYear ; wdt:P608 ; wdt:P941 ; write:description "This monumental calligraphy was commissioned to Tong Yang-tze by M+ of Hong Kong in 2020 for the opening of the museum. It was displayed in the Main Hall of the museum together with other four calligraphies by Tong Yang-tze all inspired by the I Ching (Yijing 易经, Book of Changes), an ancient Chinese philosophical text. The title of the artwork, that corresponds to the transcription of its calligraphic text, is in fact a phrase from I Ching selected by the calligrapher. Also the contents of the other 4 calligraphies of this group are phrases from the I Ching. They reveal the dynamic between humans, nature and cosmic order and are the artist’s reflection on how ancient wisdom applies to the modern world. "@en ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "At the Suspicious Moment, Act without Delay (乐天知命)"@en, "乐天知命"@zh, "Lè tiān zhī mìng"@zh-Latn ; wdt:P170 ; wdt:P180 , ; wdt:P186 , ; wdt:P2048 "194 cm" ; wdt:P2049 "360 cm" ; wdt:P462 , ; wdt:P571 "2020"^^xsd:gYear ; wdt:P608 ; wdt:P941 ; write:description "This monumental calligraphy was commissioned to Tong Yang-tze by M+ of Hong Kong in 2020 for the opening of the museum. It was displayed in the Main Hall of the museum together with other four calligraphies by Tong Yang-tze all inspired by the I Ching (Yijing 易经, Book of Changes), an ancient Chinese philosophical text. The title of the artwork, that corresponds to the transcription of its calligraphic text, is in fact a phrase from I Ching selected by the calligrapher. Also the contents of the other 4 calligraphies of this group are phrases from the I Ching. They reveal the dynamic between humans, nature and cosmic order and are the artist’s reflection on how ancient wisdom applies to the modern world. "@en ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Delight in the Existence of Heaven and Understand Its Order (见机而作)"@en, "见机而作"@zh, "Jiànjī ér zuò"@zh-Latn ; wdt:P170 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P2048 "194 cm" ; wdt:P2049 "360 cm" ; wdt:P462 , ; wdt:P571 "2020"^^xsd:gYear ; wdt:P608 ; wdt:P941 ; write:description "This monumental calligraphy was commissioned to Tong Yang-tze by M+ of Hong Kong in 2020 for the opening of the museum. It was displayed in the Main Hall of the museum together with other four calligraphies by Tong Yang-tze all inspired by the I Ching (Yijing 易经, Book of Changes), an ancient Chinese philosophical text. The title of the artwork, that corresponds to the transcription of its calligraphic text, is in fact a phrase from I Ching selected by the calligrapher. Also the contents of the other 4 calligraphies of this group are phrases from the I Ching. They reveal the dynamic between humans, nature and cosmic order and are the artist’s reflection on how ancient wisdom applies to the modern world. " ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Embracing the Way of Heaven Brings Progress (何天之衢，道大行也)"@en, "何天之衢，道大行也"@zh, "Hé tiān zhī qú, dào dà xíng yě"@zh-Latn ; wdt:P170 ; wdt:P180 , , ; wdt:P186 , ; wdt:P2048 "10.37 m" ; wdt:P2049 "3.6 m" ; wdt:P462 , ; wdt:P571 "2020"^^xsd:gYear ; wdt:P608 ; wdt:P941 ; write:description "This monumental calligraphy was commissioned to Tong Yang-tze by M+ of Hong Kong in 2020 for the opening of the museum. It was displayed in the Main Hall of the museum together with other four calligraphies by Tong Yang-tze all inspired by the I Ching (Yijing 易经, Book of Changes), an ancient Chinese philosophical text. The title of the artwork, that corresponds to the transcription of its calligraphic text, is in fact a phrase from I Ching selected by the calligrapher. Also the contents of the other 4 calligraphies of this group are phrases from the I Ching. They reveal the dynamic between humans, nature and cosmic order and are the artist’s reflection on how ancient wisdom applies to the modern world. "@en ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Tracing the Origin XV_001 "@en, "溯源之十五（一）"@zh, "Sùyuán zhī shíwǔ (yī)"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P2048 "91 cm" ; wdt:P2049 "122 cm" ; wdt:P462 , ; wdt:P571 "2013"^^xsd:gYear ; wdt:P941 , , , , ; write:description "Tracing the Origin XV_001 is one of the artworks included in the series \"Tracing the Origin\" (2000-2016) by the artist Cui Fei. This installation features dozens of thin copper wires pinned directly onto a wall, creating a sprawling array of delicate, three-dimensional lines. Each wire curves and twists in a manner reminiscent of calligraphic strokes, capturing a sense of fluid movement and organic growth without any linguistic significance." ; write:hasVisualArtworkType , , ; write:hasColophon true ; write:hasSeal false ; write:hasUnit . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl , , ; write:attributedTitle "CWU 2 A Neon Calligraphy Series: Sotheby's (素思碧寺)" ; write:description "From the English name of the corporation (CWU 1), the artist transliterates the syllabic sounds into Mandarin Chinese. “Sotheby’s” is transliterated into four Chinese characters (Susibisi 素思碧寺), chosen for their phonetic proximity to the English pronunciation and for the meaning of each one, which will be retranslated in the lower register (CWU 3) . In the background of the artwork, these characters were repeated several times. Behind each of the five panels, plexiglas sheets are etched with repeated vertical columns of these 4 same characters. " ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image , , ; write:isUnitOf ; write:numberOfCharacters 4 ; write:relatedUnit , ; write:transcriptionAndTranslation "Sotheby's / green temple of simple thoughts"@en, "素思碧寺"@zh, """Sù sī bì sì\r """@zh-Latn . a wd:Q7725634 ; wdt:P1476 "One-Hearted (相思)" ; wdt:P1480 ; wdt:P50 ; wdt:P571 "0735"^^xsd:gYear ; write:description "“One-Hearted” (Xiang Si, 相思) is a brief poem by Wang Wei (王维, 699–761) of the Tang Dynasty (618–907). Although the exact date of its composition is uncertain, it was possibly written in the middle of the 8th century, during the Kaiyuan era (713–741) or the early Tianbao era (742–756). Structurally, the poem is a five-character quatrain, also called jueju (wu yan jueju 五言绝句), consisting of four lines of five characters each, for a total of 20 characters. In this poem, Wang Wei uses red beans as an evocative symbol to express deep longing and affection, highlighting the enduring power of love and remembrance." ; write:transcriptionAndTranslation """When those red berries come in springtime,\r flushing on your southland branches,\r take home an armful, for my sake,\r as a symbol of our love.\r (translation by Witter Bynner )"""@zh, """紅豆生南國﹐春來發幾枝。\r 願君多採擷﹐此物最相思。"""@zh, """红豆生南国，春来发几枝。\r 愿君多采摄，此物最相思。"""@zh, """Hóngdòu shēng nánguó, chūnlái fā jǐ zhī.\r Yuàn jūn duō cǎi shè, cǐ wù zuì xiāngsī."""@zh-Latn . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Magnified Calligraphy 07909 (07909 放大书法)"@en, "07909 放大书法"@zh, "07909 Fàngdà shūfǎ"@zh-Latn ; wdt:P170 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P2048 "240 cm " ; wdt:P2049 """840 cm\r """ ; wdt:P462 , ; wdt:P571 "2015"^^xsd:gYear ; wdt:P608 ; write:description "\"Magnified Calligraphy 07909\" explores the intersection of tradition and abstraction, focusing on the essence of Chinese calligraphy. The artist selects a character from an ancient calligrapher, cutting away its four sides to isolate and magnify the central part by 100 times. Painted in oil on hessian fabric, the piece concentrates the key elements of calligraphy—brushwork, construction, and rhythm—into a visual language that invites the viewer to contemplate the nuances of form and movement. The magnification offers an almost microscopic view, transforming familiar brushstrokes into an abstracted, intricate composition." ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "The Music of Ink at the British Museum: Cursive Writing Poetry (草书歌行) - Artwork"@en, "草书歌行"@zh, "Cǎoshū gē xíng"@zh-Latn ; wdt:P170 ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2005-06-18"^^xsd:date ; wdt:P608 ; wdt:P941 , , ; write:derivesFrom ; write:description """This artwork was created during the musicalligraphy performance entitled "The Music of Ink at the British Museum - Cursive Writing Poetry (草书歌行)", held during the event "The Music of Ink at the British Museum" on June 18, 2005. While the musician Rohan De Saram played his cello, Zeng Laide transcribed a famous poem from the Tang dynasty written by Li Bai (701 – 762), titled “Cursive writing poetry” (Cao shu ge xing 草书歌行) using the feibai 飞白 (flying white) style.\r The poem, with its romantic tone and unique imagination, vividly recreates a scene of the calligrapher Huaisu drunkenly and passionately waving his brush, writing in a wild and exuberant manner. It carefully and wonderfully portrays Huaisu's bold and expressive personality traits. The entire poem vividly captures Huaisu’s free-spirited, passionate, and exuberant character. It holds significant reference value for later studies on Huaisu’s cursive script art. In this poem, Li Bai describes calligraphy as music. As Zeng Laide explained:\r "In Chinese, the title of the poem is Cao shu ge xing. 'Ge xing' means music; ‘cao shu’ refers to a type of calligraphy, specifically the grass script style. Thus, the poem and the calligraphy bring together the classical, the contemporary, and the creative" (Wang 2012, pp. 69-70).""" ; write:hasVisualArtworkType ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Stamping the Water / Printing on Water (印水) - Photographs"@en, "印水"@zh, "Yìn shuǐ"@zh-Latn ; wdt:P170 ; wdt:P180 , , , , , , , , , ; wdt:P2048 "40 cm (each)"@en ; wdt:P2049 "60 cm (each)"@en ; wdt:P462 , , , , ; wdt:P571 "1996"^^xsd:gYear ; wdt:P608 ; wdt:P856 ; write:derivesFrom ; write:description "These conceptual photographs are a set of thirty-six chromogenic prints that attest the performance of Song Dong entitled \"Stamping the Water\". The artist repeatedly stamps the Lhasa River in Tibet with a large wood seal carved with the Chinese character for water (shui 水). The image of the performer is always blacklit while the surrounding nature is enlighted. "@en ; write:hasVisualArtworkType ; write:hasUnit . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Heaven, Earth, Mankind and Unity (天地人合) - Artwork 1"@en, "天地人合"@zh, "Tiāndì rén hé"@zh-Latn ; wdt:P170 ; wdt:P180 , , ; wdt:P186 , ; wdt:P2048 "45 cm" ; wdt:P2049 "68 cm" ; wdt:P462 , ; wdt:P571 "2021-09-02"^^xsd:date ; wdt:P856 ; wdt:P941 ; write:derivesFrom ; write:description "This artwork was created during the TENG Ensemble's digital performance entitled: \"Heaven, Earth, Mankind and Unity (天地人合)\" realized on September 2, 2021 by the TENG company and recorded in the concert hall of the Singapore Chinese Culture Centre. It is an excerpt from the poem \"Spring Blossoms on a Moonlit Night\" (Chunjiang hua yueye 春江花月夜) by Zhang Ruoxu 张若虚 (c. 660-c. 720), specifically the line: \"Yue zhao hua lin jie si xian 月照花林皆似霰\" (The Moonlight Shines upon Dewy Petals, Glimmering like White Pearls) realized by the female calligrapher Grace Chen Liang 陈亮 (b.1974)." ; write:hasVisualArtworkType ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Heaven, Earth, Mankind and Unity (天地人合) - Artwork 2"@en, "天地人合"@zh, "Tiāndì rén hé"@zh-Latn ; wdt:P170 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P2048 "45 cm" ; wdt:P2049 "68 cm" ; wdt:P462 , ; wdt:P571 "2021-09-02"^^xsd:date ; wdt:P941 ; write:derivesFrom ; write:description """This artwork was created during the TENG Ensemble's digital performance entitled: "Heaven, Earth, Mankind and Unity (天地人合)" realized on September 2, 2021 by the TENG company and recorded in the concert hall of the Singapore Chinese Culture Centre. The female calligrapher Grace Chen Liang 陈亮 realized the phrase "The Heart Dances and Leaps" (xin feiwu 心飞舞). \r These words can be considered a contemporary expression, giving a sense of grounding and relevance in contemporary times. Although the words may appear to not have roots in traditional text, its structure was actually inspired by Han Dynasty’s Liu Bang’s poem “Song of the Great Wind” (Dafeng ge 大风歌). As Liu Ban uses the three words “The Clouds Rose on High” (yun feiyang 云飞扬), Chen too, took liberties in creating a similar syntax with “The Heart Dances and Leaps” (xin feiwu 心飞舞). """ ; write:hasVisualArtworkType ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Heaven, Earth, Mankind and Unity (天地人合) - Artwork 3"@en, "天地人合"@zh, "Tiāndì rén hé"@zh-Latn ; wdt:P170 ; wdt:P180 , ; wdt:P186 , ; wdt:P2048 "45 cm" ; wdt:P2049 "68 cm" ; wdt:P462 , ; wdt:P571 "2021-09-02"^^xsd:date ; wdt:P941 ; write:derivesFrom ; write:description "This artwork was created during the TENG Ensemble's digital performance entitled: \"Heaven, Earth, Mankind and Unity (天地人合)\" realized on September 2, 2021 by the TENG company and recorded in the concert hall of the Singapore Chinese Culture Centre. The female calligrapher Grace Chen Liang 陈亮 creates the two characters jing guan 静观 (observe calmly/mindfulness) using her left hand on the notes of the piece written by Hua Yanjun, commonly known as Ah Bing 阿炳 (1893 – 1950) “Reflection of the Moon on Erquan Spring” (Er quan ying yue 二泉映月). The work presents the idea of guidance by “stillness” (jing 静) and “observation” (guan 观) through the hustle and bustle of mankind in modern day. Chen recalls the memories of the Erhu solo, “Reflection of the Moon on Erquan Spring”, to be one of her father’s favourite pieces when she was a child. The fluctuating movements in the piece are profound and philosophical. The listener naturally closes their eyes to find the depiction of mountains, waters, skies, and earth within the music." ; write:hasVisualArtworkType ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Heaven, Earth, Mankind and Unity (天地人合) - Artwork 4"@en, "天地人合"@zh, "Tiāndì rén hé "@zh-Latn ; wdt:P170 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P2048 "97 cm" ; wdt:P2049 "180 cm" ; wdt:P462 , ; wdt:P571 "2021-09-02"^^xsd:date ; wdt:P941 ; write:derivesFrom ; write:description "This artwork was created during the TENG Ensemble's digital performance entitled: \"Heaven, Earth, Mankind and Unity (天地人合)\" realized on September 2, 2021 by the TENG company and recorded in the concert hall of the Singapore Chinese Culture Centre. The female calligrapher Grace Chen Liang 陈亮 was inspired by the composition played by the TENG Ensamble, who draws inspiration from the legendary Chinese martial Pipa solo, “Ambush from Ten Sides” (Shi mian mai fu 十面埋伏), reproducing the “Wu” 武 or martial style gestures, recalling the Battle of Gaixia in 202 BC during which General Xiang Yu 項羽 (c. 232–202 BC ) was defeated by Liu Bang 劉邦 (256 – 195 BC). The energetic and tenacious nature inspired Chen Liang to brush the words “Endlessness” (Shengsheng bu xi 生生不息). At first glance, “Ambush” can be interpreted as a state in war, but from a broader perspective, it can also be the representation of the never-ending cycle of collisions between the old and the new. The cycle of growth and development and reincarnation aligns with the philosophy of Laozi’s Dao De Jing: “Yisheng er, er sheng san, san sheng wanwu 一生二， 二生三， 三生万物” (One begets Two (Yin and Yang), Two begets Three (Heaven, Earth and Mankind; or Yin, Yang and Qi), Three begets all things). It is with this ideology that the words “Sheng sheng bu xi 生生不息” (Endlessness) were befitting for this final movement."@en ; write:hasVisualArtworkType ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a wd:Q7725634 ; wdt:P1476 "Song of the Great Wind (大风歌)"@en, "大风歌"@zh, "Dàfēng gē"@zh-Latn ; wdt:P1480 ; wdt:P50 ; wdt:P571 "0206"^^xsd:gYear ; write:description """"Song of the Great Wind" was composed by Liu Bang (256–195 BCE), the founder of the Han Dynasty (206 BCE–220 CE). The poem was likely composed around 206 BCE, after Liu Bang had emerged victorious in the Chu-Han Contention (206–202 BCE), a struggle for control of China against Xiang Yu, a powerful warlord. Liu Bang ultimately defeated Xiang Yu and established the Han Dynasty, after which he adopted the title Emperor Gaozu of Han.\r The imagery of the "mighty wind" symbolizes Liu Bang's unstoppable force in overcoming his adversaries, and it represents the broader historical narrative of how he overcame obstacles to create a lasting and powerful empire.""" ; write:transcriptionAndTranslation """大风起兮云飞扬,\r 威加海内兮归故乡,\r 安得猛士兮守四方。""", """The mighty wind blows, scattering the flying clouds,\r After meriting the unification of the world, (I) returned home.\r (Will) fierce warriors guard the four corners."""@en, """Dàfēng qǐ xī yún fēiyáng,\r Wēi jiā hǎinèi xī guī gùxiāng,\r Ān dé měngshì xī shǒu sìfāng."""@zh-Latn . a wd:Q7725634 ; wdt:P1476 "Spring Blossoms On The Moonlit River (春江花月夜)"@en, "春江花月夜"@zh, "Chūnjiāng huā yuèyè"@zh-Latn ; wdt:P1480 ; wdt:P50 ; wdt:P571 "0700"^^xsd:gYear ; write:description "\"Moonlit Night on the Spring River (春江花月夜)\" is a poem written by the Tang Dynasty poet Zhang Ruoxu 张若虚 and it is likely dated around the mid-Tang period, around the 8th century. The poem is a masterpiece of descriptive poetry that uses the imagery of the river and the moon to express universal emotions of solitude, nostalgia, and the passage of time. Zhang Ruoxu evokes vivid images of nature, particularly the scene of a bright moon illuminating a river in spring, creating an atmosphere of calm and reflection." ; write:transcriptionAndTranslation """春江潮水连海平， \r 海上明月共潮生。 \r 滟滟随波千万里， \r 何处春江无月明! \r \r 江流宛转绕芳甸， \r 月照花林皆似霰; \r 空里流霜不觉飞， \r 汀上白沙看不见。 \r \r 江天一色无纤尘， \r 皎皎空中孤月轮。 \r 江畔何人初见月？ \r 江月何年初照人？ \r \r 人生代代无穷已， \r 江月年年望相似。 \r 不知江月待何人， \r 但见长江送流水。 \r \r 白云一片去悠悠， \r 青枫浦上不胜愁。 \r 谁家今夜扁舟子？ \r 何处相思明月楼？ \r \r 可怜楼上月徘徊， \r 应照离人妆镜台。 \r 玉户帘中卷不去， \r 捣衣砧上拂还来。\r \r 此时相望不相闻， \r 愿逐月华流照君。 \r 鸿雁长飞光不度， \r 鱼龙潜跃水成文。 \r \r 昨夜闲潭梦落花， \r 可怜春半不还家。 \r 江水流春去欲尽， \r 江潭落月复西斜。 \r \r 斜月沉沉藏海雾， \r 碣石潇湘无限路。 \r 不知乘月几人归， \r 落月摇情满江树。 """, """In this moment, both gazes at the moon, but unable they are to hear each other,\r Only wishing the brilliance of the moon is shining upon the dear husband.\r Swans and geese flies long distances but cannot fly beyond the light,\r Fishes and [marine] reptiles dives and jumps but only forms ripples in the water.\r \r Dreaming of flowers descending upon the tranquil pool last night,\r Pitiful it is, half of spring has past yet there is still no return.\r The running river water flowing by, along with spring,\r Into the river pool, the descending moon goes, tilting west again.\r \r The setting moon hiding deeply into the ocean mist,\r Jie Shi and Xiao Xiang, the distance between is infinite.\r It is unknown how many people managed to return home riding the moonlight,\r Only knowing the descending moon stirs immense emotions amongst the trees by the riverbank."""@en, """Chūn jiāng cháo shuǐ lián hǎi píng,\r Hǎi shàng míng yuè gòng cháo shēng.\r Yàn yàn suí bō qiān wàn lǐ,\r Hé chù chūn jiāng wú yuè míng!\r \r Jiāng liú wǎn zhuǎn rào fāng diān,\r Yuè zhào huā lín jiē shì sǎn;\r Kōng lǐ liú shuāng bù jué fēi,\r Tīng shàng bái shā kàn bù jiàn.\r \r Jiāng tiān yī sè wú xiān chén,\r Jiǎo jiǎo kōng zhōng gū yuè lún.\r Jiāng pàn hé rén chū jiàn yuè?\r Jiāng yuè hé nián chū zhào rén?\r \r Rén shēng dài dài wú qióng yǐ,\r Jiāng yuè nián nián wàng xiāng sì.\r Bù zhī jiāng yuè dài hé rén,\r Dàn jiàn cháng jiāng sòng liú shuǐ.\r \r Bái yún yī piàn qù yōu yōu,\r Qīng fēng pǔ shàng bù shèng chóu.\r Shuí jiā jīn yè piān zhōu zi?\r Hé chù xiāng sī míng yuè lóu?\r \r Kě lián lóu shàng yuè pái huái,\r Yīng zhào lí rén zhuāng jìng tái.\r Yù hù lián zhōng juǎn bù qù,\r Dǎo yī zhēn shàng fú hái lái.\r \r Cǐ shí xiāng wàng bù xiāng wén,\r Yuàn zhú yuè huá liú zhào jūn.\r Hóng yàn zhǎng fēi guāng bù dù,\r Yú lóng qián yuè shuǐ chéng wén.\r \r Zuó yè xián tán mèng luò huā,\r Kě lián chūn bàn bù huán jiā.\r Jiāng shuǐ liú chūn qù yù jǐn,\r Jiāng tán luò yuè fù xī xié.\r \r Xié yuè chén chén cáng hǎi wù,\r Jié shí xiāo xiāng wú xiàn lù.\r Bù zhī chéng yuè jǐ rén guī,\r Luò yuè yáo qíng mǎn jiāng shù."""@zh-Latn . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "XL (一比特)"@en, "一比特"@zh, "Yī bǐtè"@zh-Latn ; wdt:P170 ; wdt:P580 "2009"^^xsd:gYear ; wdt:P582 "2009"^^xsd:gYear ; write:description """In 2009, Feng Mengbo explored the possibilities of traditional Chinese painting and calligraphy through new media in works such as “XL” (Yi bite 一比特) and “Not Too Late” (Bu tai wan 不太晚). The “XL” series consists of 25 wood panels, each covered with a silkscreen print on a layer of silver leaf, onto which calligraphic and/or pictorial elements are digitally transformed into pixel-like forms. The content of the panels includes model calligraphies by Tang dynasty masters such as Zhang Xu 张旭 (685-759) and Huaisu 怀素 (737-799), as well as seals and images of ancient sages and monks depicted in scenes of philosophical reflection or spiritual discourse. \r The panels of this series come in three sizes, small (50 x 50 cm), medium (120 x 120 cm), and large (200 x 180 cm) and reflect the artist’s engagement with digital aesthetics through the visual language of 1-bit pixel art. Adopting the working methods of classical calligraphers and painters, the artist develops a visual syntax reduced to essentials, in which artistic expression is translated into digital units. Despite this extreme reduction, the aesthetic beauty and form of the characters remain nearly intact, reflecting the sensibilities of the contemporary digital age. The series highlights the evolution from traditional brush techniques to modern digital codes and systems and becomes a meditation on continuity and transformation of visual culture in the digital age.""" ; write:includesArtwork . a wd:Q7725634 ; wdt:P1476 "Drinking on West Lake First Shine After the Rain (饮湖上初晴后雨) "@en, "饮湖上初晴后雨"@zh, "Yǐn húshàng chū qíng hòu yǔ"@zh-Latn ; wdt:P1480 ; wdt:P50 ; wdt:P571 "1071"^^xsd:gYear ; write:description """"Drinking on the Lake on a Clear Day Followed by Rain" (饮湖上初晴后雨) by Su Shi 苏轼, is a reflection on the beauty of nature and the transient, yet harmonious, relationship between different states of the environment. It captures the changes of weather on West Lake (Xi Hu) in Hangzhou, which Su Shi famously enjoyed during his time as a deputy governor.\r The poem is divided into two parts: \r The first part of the poem conveys a moment of serenity, where the clear sky and the lake's sparkling surface create a stunning and tranquil scene. Su Shi then compares this with the rain that follows, which brings a unique and mystical atmosphere to the landscape. In his view, the misty rain enhances the beauty of the mountain and lake, making it a sight that is equally as remarkable as the clarity before.\r In the second part, Su Shi compares the lake's beauty to that of a famous ancient beauty, Xi Shi 西施 whom he refers to as Lady Shi 西子. This allusion to Xi Shi, celebrated for her beauty in Chinese history, emphasizes how both the lake and the woman are lovely in their natural, unadorned state, as well as in their more dramatic, heightened forms, just as the lake can look stunning in both clear and rainy weather.""" ; write:transcriptionAndTranslation """Early morning sunlight welcomes guests, \r daubs the tiered hills,\r evening rain invites them to stay, \r sends them to a domain of drunkenness.\r Gentleman, do you not understand this fine intention?\r Let’s have a toast to the King of the Water Immortals.\r \r When it is clear, the ripples gleam on this beautiful lake,\r the colours of the mountain drizzled in mist are also wonderful.\r Should I compare Western Lake with Lady Shi?\r Lightly made up or heavily rouged, it is always fitting for her. """@en, """朝曦迎客艳重冈，晚雨留人入醉乡。\r 此意自佳君不会，一杯当属水仙王。\r \r 水光潋滟晴方好，山色空蒙雨亦奇。\r 欲把西湖比西子，淡妆浓抹总相宜。"""@zh, """Cháo xī yíng kè yàn zhòng gāng, wǎn yǔ liú rén rù zuìxiāng. \r Cǐ yì zì jiā jūn bù huì, yībēi dāng shǔ shuǐxiān wáng. \r \r Shuǐ guāng liàn yàn qíng fāng hǎo, shān sè kōng méng yǔ yì qí. \r Yù bǎ xīhú bǐ xīzǐ, dànzhuāng nóng mǒ zǒng xiāngyí.\r """@zh-Latn . a wd:Q184485 ; wdt:P1476 "Double Hook and Simple Heart (双钩素心)"@en, "双钩素心"@zh, "Shuānggōu sùxīn"@zh-Latn ; wdt:P180 , , , , , , , , , , ; wdt:P186 wd:Q11474, wd:Q127418 ; wdt:P2047 "PT7M20S"^^xsd:duration ; wdt:P276 ; wdt:P585 "2010-04-13"^^xsd:date ; wdt:P608 ; wdt:P941 ; write:calligrapher ; write:createsArtwork ; write:description "Hua Jun’s “Double Hook and Simple Heart (Shuanggou suxin 双钩素心)” is a large-scale calligraphic performance artwork created in 2010 . Using his body as an essential medium, the artist inscribed eight massive characters “不生不灭 不增不减” (Non-Born, Non-Destructed, Non-Increased, Non-Decreased) across nearly 2,000 square meters of land at the Tianziling landfill in Hangzhou. This act transformed a site of discarded waste into a space for profound philosophical reflection, embodying Buddhist wisdom about the impermanence and constancy of existence. The execution of this work was recorded into a 7-minute and 12-second video, which was shown at the exhibition \"Shu Fei Shu“ in 2010." ; write:hasChineseConcept ; write:hasPerformingArtworkType ; write:hasUnit ; write:madeUsingTool wd:Q614467 . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Qin Feng 秦风" ; wdt:P27 ; wdt:P569 "1961"^^xsd:gYear ; wdt:P800 , , ; wdt:P812 ; wdt:P856 , , ; wdt:P937 , ; write:description "Qin Feng, born in Xinjiang in 1961, is a contemporary Chinese artist known for his innovative approach to ink painting. He graduated from Shandong University of Art and Design in 1985 and currently lives and works in Beijing. Qin Feng is also the founder of the Museum of Contemporary Art Beijing. Fusing traditional Chinese calligraphy with Western abstract expressionism, his work explores themes of cultural fusion, identity, and history. His art has been exhibited globally, including solo shows at the British Museum (London), the Metropolitan Museum of Art (New York), and Palazzo Reale (Milan). In the 1990s, Qin moved to Berlin after being invited by the German government to curate an exhibition promoting cultural exchange between China and Germany. There, he began blending Western modernism with the Chinese ink tradition in abstract compositions. While he uses traditional calligraphic materials, his brushwork carries the unrestrained energy of Abstract Expressionism." . a wd:Q7725310 ; wdt:P1476 "Civilization Landscape Series (文明景观)"@en, "文明景观"@zh, "Wénmíng jǐngguān"@zh-Latn ; wdt:P170 ; wdt:P580 "2004"^^xsd:gYear ; wdt:P582 "2015"^^xsd:gYear ; write:description "Initiated in the early 2000s, Civilization Landscape Series explores the encounter between cultural traditions, historical memory, and contemporary global transformation through the language of abstraction and gestural ink painting. Inspired by his upbringing in Xinjiang, a multicultural crossroads along the Silk Roads, Qin Feng incorporates visual references to Chinese, Uighur, Arabic, and Russian scripts, evoking the coexistence and exchange of diverse cultural identities. Throughout the series, expressive brushwork and monumental compositions reinterpret the tradition of Chinese landscape painting while moving beyond direct representation. In several works, the artist further emphasizes the dialogue between East and West by using tea, symbolizing Asia, and coffee, symbolizing the Western world, as pigments or background washes, transforming everyday materials into carriers of cultural memory and exchange." ; write:includesArtwork , . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "The Character of Characters (汉字的性格)"@en, "汉字的性格"@zh, "Hànzì de xìnggé"@zh-Latn ; wdt:P170 ; wdt:P180 , , , ; wdt:P462 , ; wdt:P571 "2012"^^xsd:gYear ; wdt:P608 ; wdt:P856 ; wdt:P88 , ; wdt:P941 , ; wdt:P973 ; write:description """The Character of Characters (汉字的性格) is a seventeen-minute animated film divided in 25 micro-sections. This animation is an exploration of the inner relationship of Chinese personalities and the language/script they have been using for thousands of years. The piece is conceived as a study and imagination of a calligraphy masterpiece "The Sutra on the Lotus of the Sublime Dharma" by Zhao Mengfu (1254-1322) in the collection of Yahoo’s founder, Mr. Zhiyuan Yang. Through the medium of widescreen animation, The Character of Characters reflects on how ways of learning and using the Chinese characters might have influenced the character of Chinese people. Everyone in China who has received basic education must, over the course of years, commit to memorizing and then writing and re-writing thousands of characters. This is the way things have been done over thousands of years. We can imagine how this way of learning the Chinese characters might have influenced how Chinese people see and approach things, their worldviews and concepts of freedom, the Chinese culture of copying (shanzhai 山寨), and even the way China is today as a nation. This animation seeks to reveal the relation between Chinese writing and cultural characteristics, the core and energy of Chinese culture, and its advantages and disadvantages for people to continue to build new modes of human civilization.\r Character of Characters was firstly featured as installation in the exhibition Out of Character: Decoding Chinese Calligraphy at the Asian Art Museum, San Francisco, USA, 2012.""" ; write:hasVisualArtworkType , , ; write:hasUnit ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; write:attributedTitle "CWU 2 Art for the People for The Met (Art For The People)" ; write:description "This CWU consist of the English text \"Art for the People\". Each word of this expression is written under the corresponding word written in \"Square Word callligraphy\", using a typewriter-like font. " ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:relatedUnit , ; write:transcriptionAndTranslation "Art for the People"@en . a write:CalliWritingUnit ; wdt:P180 , , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU 1 Art for the People for The Met (Art For The People - Square word calligraphy)" ; write:description "This CWU consists of the four English words \"Art For The People\" written in \"Square Word Calligraphy\", that is a system designed by Xu Bing that adapts the English alphabet to the calligraphic forms of Chinese writing. While Chinese characters are made up of several strokes written in the same imaginary square, here each word is made up of its letters written in the same imaginary square. The expression is written from left to right and from top to bottom and sums up one of Mao Zedong's most fundamental views on art that he explained during the famous \"Talks at the Yan'an Conference on Literature and Art” (1942). Reflective also of the artist's personal conviction that Mao's concept of art for the people is universally relevant; the work exemplifies the way in which Xu Bing integrates his particular cultural background and life experience into the international context of contemporary art. " ; write:directionality "Free", "Modern" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:relatedUnit , ; write:transcriptionAndTranslation "Art For The People"@en . a wd:Q4502142 ; wdt:P1071 , ; wdt:P1476 "Stone Path (石径)"@en, "石径"@zh, "Shíjìng"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , ; wdt:P186 ; wdt:P462 ; wdt:P571 "2008"^^xsd:gYear ; write:description "Stone Path (2008) is a carved stone pathway realized by Xu Bing at the Staatliche Kunstsammlungen Dresden, Germany Dresden. Xu Bing narrates a well-known poem by Su Shi 苏轼 (1037-1101) of the Song Dynasty (960-1279), entitled “Recalling the Old Days at Mianchi in the Same Rhymes as Ziyou's Poem” (He Zi You mianchi huaijiu 和子由渑池怀旧) adopting his Square Word Calligraphy." ; write:hasVisualArtworkType , , ; write:hasColophon false ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Hidden Ink Calligraphy: Cloud Mountain (隐墨书之云山 )"@en, "隐墨书之云山 "@zh, "Yǐn mò shū zhī yún shān"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P2048 "180 cm" ; wdt:P2049 "90 cm" ; wdt:P462 ; wdt:P571 "2016"^^xsd:gYear ; write:description "\"Wang Yong's ink art creation of Chinese characters presents his understanding of the aesthetics of Chinese character ink art in an extremely light, elegant, and hazy manner. He explores an ink technique that embodies the misty and ambiguous aesthetic appeal of Chinese character ink painting.\" (Pu and Guo 2017)" ; write:hasVisualArtworkType , ; write:hasUnit . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Thereafter: Wang Tiande Art Exhibition (以后——王天德艺术展)"@en, "以后——王天德艺术展"@zh, "Yǐhòu——Wáng Tiāndé Yìshù Zhǎn"@zh-Latn ; wdt:P1640 ; wdt:P276 ; wdt:P580 "2024-07-10"^^xsd:date ; wdt:P582 "2024-10-31"^^xsd:date ; write:description "The \"Thereafter: Wang Tiande Art Exhibition\" opened on July 31 at the Xu Wei Art Museum in Shaoxing. This exhibition is the largest of Wang Tiande's career and features 67 works across painting, calligraphy, photography, installation, sculpture, and 3D printing. The artworks are arranged in seven thematic chapters, exploring how art can bridge the past and future. " ; write:exhibitedArtwork , . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Inquiry of Heaven (天问)"@en, "天问"@zh, "Tiānwèn"@zh-Latn ; wdt:P170 ; wdt:P180 , ; wdt:P186 , , ; wdt:P2048 "4 m" ; wdt:P2049 "6 m" ; wdt:P462 , ; wdt:P571 "2023"^^xsd:gYear ; wdt:P941 ; sch:thumbnailUrl ; write:description "\"Inquiry of Heaven\" is an installation calligraphic artwork realized by Huang Yeda in 2023. It stands as a profound meditation on the relationship between writing and the body, memory, and monumental presence. The installation is striking in its scale, measuring 4 meters in height and approximately 6 meters in width, comprising 70 wooden panels (each 8.5 cm thick) on which over 1,560 characters are inscribed with ink and cinnabar. These materials evoke the ancient form of bamboo slips (zhujian 竹简), one of the earliest writing mediums in Chinese history. Huang Yeda transforms this traditional format into an architectural and immersive dimension, where the text is not merely read but experienced as a spatial event. By enlarging the original dimensions of the bamboo slips, he amplifies the visual and symbolic impact of the work. The color scheme of black and red, inspired by the aesthetics of the Chu culture, evokes the mystique of ritual inscriptions, with cinnabar imparting a sacred quality to the piece. The text presented on the wooden surface is the famous poem \"Questions to Heaven\" (Tianwen 天问) by Qu Yuan (屈原), a timeless work that poses cosmological and metaphysical questions about the fate of humanity and the order of the universe. In this context, the writing becomes a threshold between past and present, a bridge linking the poet's ancestral inquiries to their contemporary resonance. Huang Yeda does not simply reproduce an ancient text but stretches and amplifies it, transforming it into a sensory and conceptual experience. " ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q7725634 ; wdt:P1476 "Questions to Heaven (《天问》)" ; wdt:P1480 ; wdt:P50 ; wdt:P571 "-0290"^^xsd:gYear ; write:description "Questions to Heaven (Tianwen 天問, “Heavenly Questions”) is a long poem traditionally attributed to Qu Yuan 屈原 (c. 340-278 BCE), one of the most influential poets of the Warring States period and a central figure of the Chu ci (Songs of Chu) tradition. Probably composed during the fourth or third century BCE, the poem consists of approximately 172 questions arranged in a continuous sequence without explicit answers. Rather than presenting a coherent narrative, Tianwen unfolds as a series of inquiries addressing cosmology, creation myths, celestial phenomena, legendary rulers, divine beings, and historical events. Through its interrogative structure, the poem explores contradictions and uncertainties within ancient Chinese mythology and religious thought, making it one of the earliest and most important textual sources for the study of early Chinese cosmological and mythological traditions." ; write:hasWikidataResource . a write:CalliWritingUnit ; wdt:P144 ; wdt:P1480 ; wdt:P180 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl , , , ; write:attributedTitle "CWU 2 Dialogue of Heaven: Artificial Intelligence Converses with Qu Yuan (《天问》- regular script)" ; write:description "CWU 2 consists of the same passages from Qu Yuan’s Questions to Heaven (Tianwen 天问) presented in CWU 1. Unlike the calligraphic transcription of the first unit, the text is rendered through a computer-generated regular script (kaishu) font. Displayed in red against a black background, it preserves the traditional Chinese characters and the conventional vertical layout, being read from top to bottom and from right to left. Throughout the video, each section of “Questions to Heaven” reappears sequentially after the completion of an AI-generated response (CWU 3), establishing a visual and textual bridge between the manually written source text and its digital transcription." ; write:directionality "Traditional" ; write:hasBackgroundColour , ; write:hasCalligraphicLine false ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image , , , ; write:isUnitOf ; write:numberOfCharacters 1553 ; write:relatedUnit , ; write:transcriptionAndTranslation """Elder Yu emerged from the belly of Gun.\r What caused the miracle and metamorphosis?\r Succeeding his father, Yu shouldered the task and successfully completed the mission. How did he continue his father’s work with a different plan of action?\r If the deepest depths hid the source of the flood, how did he stop the flow?\r He divided the earth into the Nine Regions. How did he surround them with earth walls?\r Why did the winged dragon score the earth? \r Why do rivers pass to the sea?\r What parts of the work were Gun’s planning? \r What parts were Yu’s work?\r (Translation by Gopal Sukhu 2017: 96)"""@en, """伯禹愎鮌，夫何以变化？\r 纂就前绪，遂成考功。\r 何续初继业，而厥谋不同？\r 洪泉极深，何以窴之？\r 地方九则，何以坟之？\r 河海应龙，何尽何历？\r 鮌何所营，禹何所成？\r [...]"""@zh, """伯禹愎鮌，夫何以變化？\r 纂就前緒，遂成考功。\r 何續初繼業，而厥謀不同？\r 洪泉極深，何以窴之？\r 地方九則，何以墳之？\r 河海應龍，何盡何歷？\r 鮌何所營，禹何所成？\r [...]"""@zh, """Bó Yǔ bì gǔn, fū héyǐ biànhuà? \r Zuǎn jiù qián xù, suì chéngkǎo gōng. Héxùchū jì yè, ér jué móu bùtóng? \r Hóng quán jí shēn, héyǐ tián zhī? \r Dìfāng jiǔ zé, héyǐ fén zhī? \r Hé hǎi yīng lóng, hé jǐn hé lì? \r Gǔn hé suǒ yíng, Yǔ hé suǒ chéng? [...]"""@zh-Latn ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P1480 ; wdt:P180 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 3 Dialogue of Heaven: Artificial Intelligence Converses with Qu Yuan (AI-generated running script)" ; write:description "CWU 3 consists of the AI-generated responses to Qu Yuan’s “Questions to Heaven” (Tianwen 天问). Unlike CWU 1 and CWU 2, which reproduce the original text by Qu Yuan, this unit introduces new content generated through artificial intelligence in response to the poet’s ancient questions. The text is presented in a running-cursive script (xingcao) modelled on the calligraphic style of Mi Fu (1051-1107), the Northern Song master celebrated for his fluid and expressive brushwork. Displayed in white against a black background, the characters emerge stroke by stroke in real time, visualising both the process of writing and the operation of algorithmic text generation. As each response unfolds, the work transforms the AI system into a contemporary interlocutor, creating a dialogue across historical periods and media while foregrounding questions of authorship, agency, and the relationship between human and machine-generated writing." ; write:directionality "Traditional" ; write:hasBackgroundColour , ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:numberOfCharacters 10000 ; write:relatedUnit , ; write:transcriptionAndTranslation """"Who transmitted the knowledge from ancient times?"\r The origins of ancient times were passed down through generations of people, orally transmitted until today.\r \r "How can we investigate the pre-formation of the universe?"\r Modern science attempts to understand the origin and evolution of the universe through methods like the Big Bang theory and observations of cosmic microwave background radiation. Clues are also provided by ancient texts and archaeological findings.\r \r "In the primordial darkness, who can fathom it?"\r The beginning of the universe was a state of extreme chaos and obscurity. High-energy and high-temperature matter filled the surroundings, and plasma prevented light from propagating. Approximately 380,000 years later, the universe cooled down, and light emerged.\r \r "How can we recognize the true nature amidst the obscurity?"\r Scientists use laboratory research and theoretical models to simulate and observe the behavior and interactions of primordial matter in particle physics experiments and cosmology studies. They infer the nature and characteristics of primordial matter and its impact on the early universe. Even though it is intangible, it exists.\r \r "Bright and dark alternates, what causes it?"\r The alternation of brightness during the day and darkness at night is due to the Earth's rotation and revolution. When a certain area faces the Sun due to the Earth's rotation, it becomes bright, while the opposite side experiences darkness.\r \r "The harmony of Yin and Yang, what is their origin and transformation?"\r Yin and Yang rely on each other and transform continuously, forming the operating principles and driving force of all things in the world, as well as the diversity and balance of the universe.\r \r "The nine celestial layers, who governs and measures them?"\r The nine celestial layers represent the highest levels of the universe, governing the creation and operation of all things. Each layer has unique features and inhabitants, playing significant roles in ruling, order, and the dwelling place of deities.\r \r "What achievements lie in it, who initiated its creation?"\r The measurement and calculation of the nine celestial layers are skills of astronomers, used for predicting seasons and creating calendars.\r By observing the positions, trajectories, and cycles of celestial bodies, they grasp the fundamental structure of the cosmos.\r According to the Classic of Mountains and Seas (Shan Hai Jing), the nine celestial layers were created by numerous deities working together.\r \r "How does it revolve and revolve around?"\r Celestial bodies revolve around the axis, as if tied to the center with a rope.\r According to The Book of Jin – Astronomical Records, the heavens are round like an opened canopy, while the earth is like a chessboard.\r The celestial sphere resembles a canopy with a polar point, and celestial bodies revolve around it like wheels turning around an axis.\r \r "Where is the top of the celestial axis?"\r The top of the celestial axis has no specific location; it is a hypothetical point.\r \r "When do the eight pillars appear?"\r The eight pillars supporting the heavens are fictitious and serve to describe the motion of celestial bodies.\r \r "Why is the southeast deficient?"\r The unevenness in the southeast is due to the celestial canopy rotating at a 36-degree angle.\r The Earth's equator from rotation and the ecliptic from revolution are not on the same plane, causing the North Pole to be 36 degrees above the ground.\r The variation of the North Star gave rise to the myth of Gonggong's anger striking the pillar of heaven.\r Ancient people thus believed that the pivotal star of the North Pole moved to the northwest, placing Mount Kunlun in the northwest as well.\r \r "Within the confines of the nine heavens, what is placed and assigned?"\r The depiction of the nine heavens is based on ancient Chinese astronomical concepts.\r In reality, the universe is infinite and flat, a three-dimensional space where celestial bodies interact through gravity without boundaries. \r \r "There are many corners and crevices, who knows their number?"\r The number of galaxies and stars in the universe is still a rough estimate in scientific research.\r \r "Where does the sky rest?"\r In traditional Chinese cosmology, the sky, earth, and universe are considered an organic whole with close connections.\r The sky is above, and the earth is below, linked through the celestial pivot, celestial axis, and celestial balance.\r \r "How is it divided into twelve?"\r The sky is divided into reference systems such as the ecliptic, equator, and celestial axis.\r The ecliptic serves as a reference plane for the movement of the sun, moon, and planets and divides the sky into twelve segments, known as the zodiac.\r \r "Where do the sun and moon belong, and where do the stars assemble?"\r The sun, moon, and other celestial bodies move along the ecliptic.\r Additionally, ancient China divided the sky into twenty-eight lunar mansions, with each mansion representing specific constellations or star clusters.\r This guided agricultural activities, calendar systems, and other practices.\r The positions and movements of the stars were also used for divination and predictions, closely related to earthly matters.\r \r "Emerging from Tang Valley, following Mengji. From brightness to darkness, how many miles does it travel?"\r The journey of the sun described in myths is legendary and does not align with scientific calculations.\r According to scientific measurements, the sun travels approximately 15 million kilometers from sunrise to sunset, which is far different from the myth's depiction.\r In myths, the sun is often regarded as a mysterious existence or controlled by divine creatures, moving along a fixed orbit.\r Myths typically use expressions like "ten thousand miles" or "ninety thousand miles" to symbolically describe the sun's movement, representing its daily course and the passing of time.\r \r "What virtues does the moon possess that it dies and then revives?"\r The phases of the moon, such as the full moon and new moon, are caused by the changing position of the moon as it orbits around the Earth and the relative positions of the Earth and the Sun.\r The moon itself does not have its own source of light; its brightness is the result of the sunlight reflecting off its surface.\r \r "Where do the dark spots come from, and why is the hare seen on its belly?"\r The dark spots on the moon, also known as "lunar maria," are visual illusions caused by variations in the surface terrain and angles of illumination on the moon.\r There are no physical objects present; people perceive shapes like a rabbit or a toad within these spots.\r \r "Why does Nuqi have no mate, yet she gives birth to nine sons?"\r The legend of Nuqi giving birth to nine sons reflects the ancient people's fascination and reverence for the mysteries of life and reproduction.\r In a matrilineal clan society, women held a higher status, symbolizing the greatness of their reproductive ability and motherhood.\r \r "Where does Boqiang reside, and where can we find his benevolent aura?"\r According to The Classic of Mountains and Seas – Overseas Northern Classic, the wind deity Boqiang, who has the face of a man and the body of a bird, resides in the north.\r The gentle and pleasant breeze is often associated with blowing from the east, symbolizing the unobstructed flow of the wood element and promoting the growth of all things.\r \r "Why does it turn dark and then become bright again?"\r The terms "heaven's closure," "darkness," "heaven's opening," and "brightness" describe the changes between day and night due to the Earth's rotation and revolution.\r This metaphor compares the sky to a window in a house, symbolizing the opening and closing of the window for day and night, vividly expressing the natural phenomenon of day and night alternation.\r \r "When the constellation Jiao has not dawned, where is the hidden luminous essence?"\r During the dawn, the sun has not yet risen, and the stars in the eastern sky have not completely disappeared.\r At this moment, the sun is hidden below the horizon, waiting to rise, while the stars in the east gradually fade, making way for daylight.\r \r "Why was Gonggong not entrusted, and why did the teachers not support him? Why were they not worried and did not teach him the proper methods? Why did Chi and Gui not listen to Gun?"\r The people had high hopes and trust in Gonggong, believing he could solve the flood problem.\r They considered Gonggong to be highly intelligent and believed he could find a unique way to address the flood disaster.\r Gonggong imitated the method of a woodpecker and built dikes, moved boulders, and carried soil with its beak, thinking that it would be effective.\r \r "To achieve success, why was Emperor not punishing him? Why is he forever confined to Mount Yu, and why has it been three years without implementation?"\r Despite Gonggong's contributions to flood control, Emperor Yao believed that his actions needed to be punished to uphold the authority of the law and order.\r The prolonged exile of Gonggong on Mount Yu might have involved political power struggles and conflicts between Gonggong and Shun's supporters, leading to his long-term confinement without release to this day."""@en, "Various methods such as gathering wind vegetables, dragging stones, and using windows were attempted to control water flow, but they were unsuccessful. However, Yu the Great successfully managed the floods by using a method of guiding water through nets and pearls. Unlike previous approaches that focused on blocking water, Yu emphasized guiding its flow. His method became a model for flood control, as he directed floodwaters by digging channels and using techniques like gathering wind vegetables to gradually control the floods, allowing the land to prosper and people to live in harmony. Yu is often depicted in a romanticized manner, using an eagle cage as a map and drawing channels with a swipe of his tail. These mythical descriptions add a sense of mystery and imagination to his legendary role in flood control. They highlight his heroic image and extraordinary abilities, elevating historical events to a symbolic level, imbuing them with deeper significance. [...]"@en, "鲸采风菜提曳石窗出等方法法理泌水但未成功大禹則采网珠導水流的方法成功治理洪水並用 土地雖往重工握离注重好流方法不同大禹之方陆更我学有敦为让水典範他阙贱汀渠引导洪水挖框生地菜提等透漸控制洪水使土地得以共后樂業禹以鷹籠為圖膳用尾巴劃地闖馨磷渠這種浪漫化之描述腻予了禹语水遏握之神秘和想象力实頸出他的英璀形象与非凡能力将層史事件赋予了挺台丝的亲義 [...]"@zh, "Jīng cǎifēng cài tí yè shí chuāng chū děng fāngfǎ fǎlǐ bì shuǐ dàn wèi chénggōng dà yǔ zé cǎi wǎng zhū dǎo shuǐliú de fāngfǎ chénggōng zhìlǐ hóngshuǐ bìngyòng tǔdì suī wǎng zhònggōng wò lí zhùzhòng hǎo liú fāngfǎ bùtóng dà yǔ zhī fāng lù gèng wǒ xué yǒu dūn wèi ràng shuǐ diǎnfàn tā quējiàntīng qú yǐndǎo hóngshuǐ wā kuàng shēngdì cài tí děng tòu jiàn kòngzhì hóngshuǐ shǐ tǔdì déyǐ gòng hòu lè yè yǔ yǐ yīng lóng wèi tú shàn yòng wěibā huà dì chuǎng xīn lín qú zhè zhǒng làngmàn huà zhī miáoshù nì yǔle yǔ yǔ shuǐ è wò zhī shénmì hé xiǎngxiàng lì shí jǐng chū tā de yīng cuǐ xíngxiàng yǔ fēifán nénglì jiāng céng shǐ shìjiàn fùyǔle tǐng tái sī de qīn yì [...]"@zh-Latn ; write:vectorisedOrDigitised true . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Sound Images (声音的图像)"@en, "Immagini sonore"@it, "声音的图像"@zh, "Shēngyīn de túxiàng"@zh-Latn ; wdt:P170 ; wdt:P580 "2023"^^xsd:gYear ; wdt:P582 "2023"^^xsd:gYear ; sch:thumbnailUrl , , ; write:description """The "Sound Images" series consists of eight large-scale ink and acrylic artworks on cloths, each measuring ca. 400 x 290 cm. . These pieces are the result of the fusion of poetry, calligraphy, painting, and music. Using calligraphic brushstrokes and a powerful poetic echo, sounds were transformed into a forest of pictographic images. These images evoke a primitive, infantile style of drawing and writing with a strong naïve influence as they originate from the reshaping of ancient Chinese pictograms. These artworks are full of Klee-style symbols, playful allusions to Mirò’s works, Mondrian-style geometries and an almost primitive iconic graphic imagery recalling the late Keith Haring. They are animated by big eyes, hearts, fishes, birds, stylized humans and animals, faces, flags, full containers and dwellings, arrows, trees, stars, etc. They create a vivid kaleidoscope of imagined and to-be-imagined stories immersed in a lively and breathing context. Their rhythmic pattern is ordered according to vertical columns recalling the traditional calligraphic flow, as well as an internal musical score. Their arrangement is free and permeating, and the coloristic palette is an alternation of red and black that creates a continuous alternating rhythm with accents and pauses. \r The series was first displayed in the exhibition “Sounds of Ink: Luo Qi and 30 Years of Calligraphyism”, that was held at the International Museum and Library of Music in Bologna (Italy) from October 12 to November 5, 2023. \r The series arises from one of the most important series by Luo Qi entitled "Love Writings" (Qingshu 情书, 1990-2002), that marked a turning point in Luo Qi’s artistic production. In particular, in a group of these coloured abstractions created in 1998, Luo Qi uses the same symbols that he reproduces in “Sound Images”. Another point of contact is the depiction of several “hearts”, that are drawn according to Western conventions and always highlighted by bright colours. \r The manipulation of ancient forms of Chinese writing is also the basis of other three connected series that influenced “Sound Images”: “Godbird Series” (Shenniao xilie 神鸟系列), “Godfish Series” (Shenyu xilie 神鱼系列) and “Flying Fish Series” (Feiyu xilie 飞鱼系列). These three series were created by Luo Qi from 2004 to 2009 and consist of the reworking of ancient pictographic forms of the characters niao 鸟 (bird) and yu 鱼 (fish) with an increasingly greater degree of abstraction. """ ; sch:image , , ; write:includesArtwork . a wd:Q4502142 ; wdt:P1071 , ; wdt:P1476 "Brilliant Star - Grain Buds (璀璨的星-小满) "@en, "璀璨的星-小满"@zh, "Cuǐcàn de xīng - Xiǎomǎn"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , , , , , , ; wdt:P186 , ; wdt:P2048 "95 cm" ; wdt:P2049 "147 cm" ; wdt:P462 , , , , , , , , , ; wdt:P571 "2022"^^xsd:gYear ; write:description "\"Grain Buds\" is one of the works included in the series \"Brilliant Star\". Grain buds (xiaoman 小满) refers to the eighth solar term in the traditional Chinese agricultural calendar, which divides the year into 24 fifteen-day periods. This particular solar term marks the period when plant seeds are full but not yet fully ripe, occurring between late May and early summer. In this piece, the original photograph taken by Chu Chu at West Lake in Hangzhou is partially obscured by multiple layers of calligraphy and painting. The artist employs cerulean and yellow-gold ink, creating a dynamic explosion of color and energy that enlivens the entire composition. " ; write:hasVisualArtworkType , , ; write:hasColophon false ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool ; write:vectorisedOrDigitised true . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Tree Whisper – Tea (树语 - 茶) "@en, "树语 - 茶"@zh, "Shù yǔ - Chá"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P2048 "60 cm" ; wdt:P2049 "60 cm" ; wdt:P462 , , ; wdt:P571 "2018"^^xsd:gYear ; wdt:P608 ; wdt:P941 ; sch:thumbnailUrl ; write:description """This artwork is part of the series "Material Immaterial - Tree Whisper" (2010-2019). During this project, Chu Chu collected various branches from different trees in the botanical garden near her studio in Hangzhou. She captured large-format black-and-white photographs, on which she realized calligraphic inscriptions with gold, silver, white, and black ink. The artist used small characters that are arranged in order to shape the shadow of branches from a distance. Characters are written in cursive style, and feature excerpts from the Chinese literary tradition, such as the poems of Qu Yuan (屈原, 339 B.C. - 278 A.D.), the Shijing (诗经, Classic of Poetry) and the “West Lake in My Dreams” (Xihu Mengxun 西湖梦寻) by Zhang Dai 张岱 (1597-1684). \r In this work, Chu Chu portrays the branch of a tea tree. Upon printing its photograph in black and white, she wrote a poem from the Classic of Poetry, entitled "Peach Tree Soft and Tender" (Tao yao 桃夭), as to reproduce the shadow of the branches giving a three-dimensional effect to the image. """ ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool ; write:vectorisedOrDigitised true . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Manuscript of Nature VIII_III (自然的手稿之八 - 三)"@en, "自然的手稿之八 - 三"@zh, "Zìrán de shǒugǎo zhī bā - sān"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , ; wdt:P186 , ; wdt:P2048 "32 cm (each)" ; wdt:P2049 "62 cm (each)" ; wdt:P462 , ; wdt:P571 "2016"^^xsd:gYear ; wdt:P856 ; write:description "Manuscript of Nature VIII_III (2016) by Cui Fei is a triptych made from thorns, with three panels measuring 32 x 62 cm each. The thorns create an abstract, tactile surface that feels both fragile and defensive. The repeated format invites a slow, page-like reading, as if nature were writing through material traces rather than language. " ; write:hasVisualArtworkType , , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Civilization Landscape (文明景观)"@en, "文明景观"@zh, "Wénmíng jǐngguān"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P186 , ; wdt:P2048 "4.5 m" ; wdt:P2049 "9 m" ; wdt:P462 , ; wdt:P571 "2012"^^xsd:gYear ; wdt:P973 ; write:description "Civilization Landscape (2012) is a monumental panoramic painting measuring 4.5 × 9 m that reinterprets the tradition of Chinese landscape painting through abstraction and gestural mark-making. Executed in oil on canvas, the work presents a dynamic field of sweeping black forms and layered textures that evoke mountains and geological formations without depicting a specific site. Its monumental scale immerses the viewer in an expansive visual environment, transforming the landscape into a meditation on the relationship between nature, civilization, and contemporary cultural change. As shown for the works included in the Civilization Landscape series, Qin Feng emphasizes the spontaneous energy of nature through expressive brushwork, translating the vitality of traditional ink painting into a contemporary visual language." ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 ; wdt:P462 ; write:attributedTitle "CWU 3 Art for the People for The Met (seals/QRcodes) " ; write:description "This CWU is composed of five read “seals” that surround the English writings of the artworks entitled \"Art for the People for The Met\" by Xu Bing. These seals, that in the ancient Chinese literati tradition represent the sign(s) of the artist, are actually QR codes that the audience can scan to read further on The Met’s website. The insertion of the QRcodes in this work is a reflection on the importance of the web technologies to identifies the individuals in the digital and social media age, but also to generate connections and amplifies the human knowledge. " ; write:hasBackgroundColour ; write:hasColophon true ; write:hasSignificance "Set of signs (illegible)" ; write:isUnitOf ; write:madeUsingTool ; write:relatedUnit , . a write:TraditionalArtwork ; wdt:P1476 "Four Ancient Poems Calligraphy"@en, "古诗四帖"@zh, "Gǔshī sì tiē"@zh-Latn ; wdt:P170 ; wdt:P571 "0750"^^xsd:gYear ; write:description """"Four Ancient Poems Calligraphy” is a calligraphic work by Zhang Xu 张旭 (685-759). Along with Huaisu 怀素 (737-799), he is one of the two greatest Tang dynasty calligraphers of wild cursive (kuangcao 狂草), the most bold and expressive calligraphic style. The two are often nicknamed "the crazy Zhang and the drunk Su" (dian Zhang zui Su 颠张醉素), reflecting their unrestrained artistic spirit.\r In this calligraphic scrool of different colors, measuring 29.5 x 195 cm, Zhang Xu transcribes with black ink four classical poems of the Southern and Northern Dynasties (420-589): “Daoist Chant – Poem No. 6" (Daoshi buxu ci - qi liu 道士步虚词·其六) and "Daoist Chant – Poem No. 8" (Daoshi buxu ci - qi ba 道士步虚词·其八) by Yu Xin 庾信 (513-581); "Ode to Prince Jin" (Wangzi Jin zan 王子晋赞) and "Seeing an Old Man and a Few Youths under a Cliff" (Yan xia jian yi lao weng si wu shao nian zan 岩下见一老翁四五少年赞) by Xie Lingyun 谢灵运 (385—433). The four poems share several Daoist themes, evoking mystical imagery and philosophical reflections on nature, immortality, and transcendence. Zhang Xu's calligraphy in wild cursive style is characterized by sponaneous strokes and dynamic rhythm. Scholars generally attribute the piece to Zhang Xu's mature period (740-755). This piece is housed in the Liaoning Provincial Museum (Shenyang, China).\r """ ; write:hasTraditionalArtworkType . a write:DecorativeAndAppliedArt ; wdt:P1071 ; wdt:P1476 "Mengbo 2012: Feng’s Bitmap + Feng’s Vector (梦波2012: 点阵冯 + 矢量冯)"@en, "梦波2012: 点阵冯 + 矢量冯"@zh, "Mèngbō 2012: Diǎnzhènféng + Shǐliàngféng"@zh-Latn ; wdt:P180 , , , ; wdt:P287 ; wdt:P462 ; wdt:P571 "2011"^^xsd:gYear ; wdt:P608 ; sch:thumbnailUrl ; write:description """"Mengbo 2012" consists of two sets of typeface created by Feng Mengbo in 2011, titled "Feng's Bitmap" (dianzhenfeng 点阵冯) and "Feng's Vector"(shiliangfeng 矢量冯). This is an aesthetic experiment of using software to set typefaces, Feng Mengbo created his font aided by a software program able togenerate a font bank after the modelling of a few characters that Feng made on the computer. Adopting digital tools to accelerate the aging process of characters of stone rubbings, the artist reduces the fonts to their most essential forms, placing them on the edge between readability and unreadability. The reduction of characters is based on 'stone flowers' (shihua 石花). These 'stone flowers' are rubbings made from eroded or damaged steles that show white marks where the stones or inscriptions had been before, often rendering the characters illegible. Feng Mengbo chose to revive the stone flowers to preserve them in an artistic digital remediation. \r In "Feng's Bitmap" (dianzhenfeng 点阵冯) the font is a pixel-based reduction of characters, while in "Feng's Vector" (shiliangfeng 矢量冯) are reduced to gentle lines. This is why bitmap images are based on pixels, while vector images are based on mathematical formulas that represent lines and shapes. \r "Feng's Bitmap" (dianzhenfeng 点阵冯) and "Feng's Vector"(shiliangfeng 矢量冯) have been released by Founder Electronics Co., Ltd. at the opening ceremony of the exhibition "Mengbo 2012" and they are free for personal use.\r \r """ ; write:hasColophon false ; write:hasDecorativeArtworkType ; write:hasSeal false ; sch:image ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P180 , , , , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Eye Charts - Feng's Bitmap (signs)" ; write:description """This CWU consists of the typefaces created by Feng Mengbo in the two panels of "Eye Charts" (2011). Each panel includes 90 characters varying gradually in sizes in the shape of optometric charts. The artist uses two newly-designed computer fonts: in the first panel the "Feng's Bitmap" (Dianzhenfeng 点阵冯) and in the second one the "Feng's Vector" (Shiliangfeng 矢量冯). In the first one the characters are pixel-based reduced, while in the second one they are reduced to gentle lines based on vectors and mathematical formulas. The reduction of characters is based on 'stone flowers' (shihua 石花). These 'stone flowers' are rubbings made from eroded or damaged steles that show white marks where the stones or inscriptions had been before, often rendering the characters illegible. Feng Mengbo chose to revive the stone flowers to preserve them in an artistic digital remediation. Adopting digital tools to accelerate the aging process of characters of stone rubbings, the artist reduces the fonts to their most essential forms, placing them on the edge between readability and unreadability. In a deliberate paradox, the larger the characters appear, the less legible they become; the smaller they are, the clearer they read. \r """ ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine false ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image ; write:isUnitOf ; write:numberOfCharacters 180 ; write:relatedUnit , ; write:vectorisedOrDigitised true . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Three installations by Xu Bing"@en ; wdt:P1640 , ; wdt:P276 , , ; wdt:P580 "1991-11-30"^^xsd:date ; wdt:P582 "1992-01-19"^^xsd:date ; wdt:P856 , ; write:description """The "Three installations by Xu Bing" exhibition was held at Elvehjem Museum of Art, now Chazen Museum of Art, located at the University of Wisconsin-Madison from 30 November 1991 to 19 January 1992. The exhibition included three installations by Xu Bing: "Five Series of Repetitions" (1986-87), "Book from the Sky" (1987-1991), and "Ghosts Pounding the Wall" (1990-91).\r The "Book from the Sky" installation was firstly exhibited in October 1988 at the National Art Museum of China (Namoc) in Beijing (Abe 1998, 174; Erickson 2001, 37). However, Xu Bing, dissatisfied with the initial presentation, later revised the installation and exhibited it abroad for the first time at Elvehjem Museum of Art in a modified and definitive form. The installation has since been exhibited in several museums and galleries around the world up to today.""" ; write:exhibitedArtwork . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Wu Shanzhuan 吴山专" ; wdt:P27 ; wdt:P569 "1960-10-25"^^xsd:date ; wdt:P800 ; wdt:P812 ; wdt:P937 ; write:description "Wu Shanzhuan (b. 1960) is a Chinese contemporary artist based in Hamburg, Germany. He is known for his conceptual and installation art that merges language, culture, and political critique. He studied printmaking at the Zhejiang Academy of Fine Arts (now China Academy of Art) and became active in China's avant-garde art scene in the late 1980s. Wu Shanzhuan is best known for his large-scale text-based works, where he appropriates the visual forms of traditional Chinese calligraphy but subverts their content by inserting Maoist slogans, commercial advertisements, or absurdist phrases. His art challenges authority and cultural identity, creating a tension between the formal beauty of calligraphy and the critical messages embedded within it. By transforming calligraphic traditions into platforms for social commentary, Wu Shanzhuan turns writing into a powerful tool for conceptual exploration and cultural reflection." ; write:hasWikidataResource . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "1/2 "@en ; wdt:P175 ; wdt:P180 , , , , , , , , ; wdt:P186 wd:Q127418, wd:Q23852 ; wdt:P276 ; wdt:P585 "1998"^^xsd:gYear ; write:createsArtwork ; write:description """The performance is composed of three different moments. In the first part of the performance ("1/2 Meat"), Zhang Huan is naked and he 'wears' a carcass of raw bovine meat, reminiscent of the armors of ancient Chinese warriors. In the second part of the performance ("1/2 Text"), Zhang Huan invites friends to write phrases or words on his face and body with black ink, so that Zhang Huan's ethnicity is literally inscribed on his body. In the last part of the performance ("1/2 Meat + Text"), Zhang Huan wears again the carcass of the raw bovine meat, but this time his body is completely covered by written characters. \r The performance conveys different meanings and interpretations, based on three principal aspects of human life: individual, society and culture. \r Zhang Huan expresses the contradiction of human nature: on one hand the civil and rational side and on the other hand the primitive and animalistic side. Consequently, Zhang Huan's body becomes a medium that carries and expresses this dualistic concept. According to the Chinese philosophical tradition, body and mind are blended together and they represent a single vital unit. As Chinese characters are a product of the human mind, the artist's body serves as a support for the text. Writing is fused with the body so that mind and body are blended together. The bloody carcass of the animal represents the scarnification of the body, which is "overlapped" to the text. It is an element of division between the human body and the text, so it breaks the fusion between mind and body. The title "1/2" expresses that in contemporary times the traditional union/harmony between body and mind has been divided into two separate entities .\r The carcass of the animal also represents the society, which is stripped from the "chaotic flesh and blood" of culture, customs and traditions. Society is deprived of its "vital pulp", that is culture, showing how the human mind is losing its value in contemporary society. \r Finally, this performance is a visual metaphor for the difficult transcultural experience upon which Zhang was about to embark. As an Asian body circulating within a Western culture, Zhang tries to make himself understood through his native language. He said: "The body is the only direct way through which I come to know society and society comes to know me. The body is the proof of identity. The body is language.\""""@en ; write:hasPerformingArtworkType ; write:hasUnit ; write:madeUsingTool wd:Q614467 . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Red Humor Series: Big-Character Posters (红色幽默：大字报)"@en, "红色幽默：大字报"@zh, "Hóngsè yōumò: Dàzì bào"@zh-Latn ; wdt:P170 ; wdt:P180 , , ; wdt:P186 , ; wdt:P2048 "3,5 m" ; wdt:P2049 "6 m" ; wdt:P2610 "4 m" ; wdt:P462 , , ; wdt:P571 "1986"^^xsd:gYear ; write:description "\"Big-Character Posters\" was created by Wu Shanzhuan in 1986 as part of his \"Red Humor Series\". It is a physical environment, measuring approximately 3.5 × 4 × 6 meters, created by assembling dazibao (big-character posters), slogans, and revolutionary symbols, but the artist rearranges them in a way that removes their original meaning. t combines commercial paintings on xuan paper of Maoist propaganda with traditional Chinese literature and philosophy. Instead of making political statements, Wu Shanzhuan plays with language to create a confusing, humorous, and strange experience. Through this playful fragmentation, the artist creates a world where meaning breaks down and is replaced by irony, laughter, and confusion: a celebration of the collapse of rigid ideological structures (Bryson 2005). " ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool ; write:vectorisedOrDigitised true . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "1/2 - Photographs"@en ; wdt:P170 ; wdt:P180 , , , , ; wdt:P2048 "102 cm (each)" ; wdt:P2049 "127 cm (each)" ; wdt:P462 , , , ; wdt:P571 "1998"^^xsd:gYear ; write:derivesFrom ; write:description """This series of photographs attest the three different moments of Zhang Huan's performance entitled "1/2". In the first photograph entitled "1/2 Meat", Zhang Huan is naked and he 'wears' a carcass of raw bovine meat, reminiscent of the armors of ancient Chinese warriors. In the second photograph entitled "1/2 Text", the body and the face of the artist are completely covered by Chinese characters, so that Zhang Huan's ethnicity is literally inscribed on his body. In the third photograph entitled "1/2 Meat + Text", Zhang Huan 'wears' again the carcass of the raw bovine meat, but this time his body is completely covered by written characters. \r To realize Chinese characters on the artist's body, his friend used traditional calligraphic tools, like brush and ink, and the support for their calligraphies is the artist's body instead of paper. The chromatism of these photographs also recalls traditional calligraphy: the black of the ink, and the white and red of the carcass that recalls white paper and red seal(s). \r """@en ; write:hasVisualArtworkType ; write:hasUnit . a write:DecorativeAndAppliedArt ; wdt:P1476 "Xu Bing for Louis Vuitton - Customized Hard Suitcase Case for the Four Treasures of the Study (Ink, paper, brush, and ink stone) with “Square Word Calligraphy” Inscription"@en, "'英文方块字书法' 的文房四宝特别定制箱"@zh, "'Yīngwén fāngkuàizì shūfǎ' de wénfángsìbǎo tèbié dìngzhì xiāng"@zh-Latn ; wdt:P176 ; wdt:P179 ; wdt:P180 , , ; wdt:P2048 "42.6 cm" ; wdt:P2049 "64.7 cm" ; wdt:P2284 "2.8 million RMB" ; wdt:P2386 "23.7 cm" ; wdt:P287 ; wdt:P462 , , ; wdt:P941 ; write:description "The famous fashion house Louis Vuitton collaborated with the renowned contemporary Chinese artist Xu Bing, drawing inspiration from his representative work “Square Word Calligraphy” (Yingwen fangkuai zi shufa 英文方块字书法). By combining the invented character concept from his work “A Book from the Sky” (Tianshu 天书) with the iconic motifs of the LV maison, Xu Bing and the famous fashion house jointly launched a specially designed calligraphy set box in “Square Word Calligraphy”. In May 2016, this work was auctioned by Sotheby’s during a dinner auction in Beijing, fetching a final price of 2.8 million RMB. The custom-made hard case took two years to design and produce. It contains 30 items, including traditional Chinese writing tools (brush, ink, paper, and inkstone) as well as modern instruments such as a tablet. The exterior design of the case is based on the poem “In Ancient Days” (Zai gudai 在古代, 2004) by the female contemporary Chinese poet Zhai Yongming 翟永明 (b.1955), along with a note from the author. Xu Bing first translated the text into English, then transformed each English word into a form resembling a Chinese character to write it using his \"Square Word Calligraphy\" method." ; write:hasChineseConcept ; write:hasChineseVisualElement ; write:hasColophon true ; write:hasDecorativeArtworkType ; write:hasSeal true ; write:hasUnit . a wd:Q17514 ; wdt:P1476 "I am sick (我有病)"@en, "我有病"@zh, "Wǒ yǒu bìng"@zh-Latn ; wdt:P179 ; wdt:P180 , , ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2021"^^xsd:gYear ; wdt:P941 ; write:description """The graffito ‘I am sick (wo you bing 我有病)’ seemed to convey much more than a simple outburst; rather, it reflected a deeper sense of distress. What makes this graffito particularly striking is that, while it appears at first glance to be an extensive phrase, it consists of only three characters, wo you bing 我有病 (I am sick), repeated over and over until it covers the entire wall. \r This choice of repetition may have been deliberate, aiming to evoke a sense of obsession or anguish, feelings often associated with illness. The repetitive nature of the message emphasizes the pervasive and consuming nature of mental suffering, hinting at a struggle that extends beyond physical health. \r At the end of the repeated phrase ‘Wo you bing 我有病’ (I am sick), the words ‘wo ai ni 我爱你’ (I love you) appear in blue in the bottom right corner, differing from the earlier black inscriptions. This was likely added later by another emotional graffiti writer, perhaps as a gesture of consolation toward the original author."""@en ; write:hasChengyu false ; write:hasColophon false ; write:hasGraffitiGenre , ; write:hasGraffitiStyle ; write:hasGraffitiType ; write:hasSeal false ; write:hasUnit , ; write:madeUsingTool . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Ode of Eight Thousand Verses (八千颂歌) "@en, "Ode degli ottomila versi "@it, " 八千颂歌 "@zh, " Bāqiān sònggē "@zh-Latn ; wdt:P170 ; wdt:P580 "2017"^^xsd:gYear ; sch:thumbnailUrl ; write:description """In "Ode of Eight Thousand Verses (八千颂歌)" series, Luo Qi combines two different writing systems shaped in calligraphic form: the Chinese characters and the Sanskrit alphabet. The graphs in black are reworkings of Sanskrit letters, while the graphs in white outlined in black are reworkings of Chinese characters. The Sanskrit parts are extracts from the Sutra of the Perfection of Wisdom in 8,000 Lines, also called Transcendental Knowledge Sutra (Prajñāpāramitā Sutra), which is a collection of Buddhist texts fundamental for the creation of Mahāyāna Buddhism. There are four Chinese characters: Fo 佛 (Buddha), Luo 洛 (the artist's surname), Shou 寿 (Longevity), a character linked to esoteric calligraphy of Taoist inspiration, and Fu 福 (Good Fortune), an auspicious symbol particularly important in China and for Luo Qi, and a reference to the word “Gospel,” in Chinese "Fuyinjing 福音经". These four characters link together Buddhism, Taoism, and Christianity, popular and elite art, phonetic sounds, puns and religious litanies.\r The genesis of this series dates back to 2006-2007, when Luo Qi created the first artworks inspired by the Sutra of the Perfection of Wisdom in 8,000 Lines. In 2016, he decided to mix Sanskrit letters with Chinese auspicious characters in ink on paper artworks. In 2017, he then created 30 folding books in black ink on paper hung as vertical scrolls entitled "Fu Luo shou 福洛寿" (Fortune – Luo – Longevity) that respresented the first nucleus of this series. In 2019, in occasion of the exhibition "Luo Qi: Writing Music“ (Bologna, 25/03-08/04), they were renamed "Fu – Baqian songge 福· 八千颂歌” (Fortune – Ode of Eight Thousand Verses). In 2023, the name has been further simplified to "Baqian songge 八千颂歌” (Ode of Eight Thousand Verses), and part of them were displayed in the exhibition "Sounds of Ink: Luo Qi and 30 Years of Calligraphyism" (Bologna, 12/10-05/11).\r The artist's attempt in this series is to use different linguistic signs that, juxtaposed, reiterated, mixed and outlined through expert calligraphic brushstrokes, create a visual rhythm that visually reproduces the musical rhythm of Buddhist litanies arisen from reading the transcribed sutras. The linguistic content of the work is so no longer important, but is only the means, or rather the material through which this “score” unfolds and addresses the eyes and ears of the spectators. The raw material of these works are therefore letters and characters, the means to transcribe them is calligraphy, but the result is a linguistically illegible and, at the same time, sonically perceptible plot. These works can be described as a form of "musical calligraphy", a form that we could define as "universal", since it simultaneously accords Buddhist, Daoist and Christian echoes, embracing Eastern and Western traditions. They are works made of signs that go beyond borders and unite worlds through their "visual sound". They are works that exemplify the quintessence of Luo Qi's "calligraphyism", an artistic form that uses writing, or rather writings, and calligraphic art to create new visual codes that are universally understandable.""" ; sch:image ; write:includesArtwork . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Pseudo-Characters Series (虚构文字系列 )"@en, "虚构文字系列 "@zh, "Xūgòu wénzì xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "1984"^^xsd:gYear ; wdt:P582 "1986"^^xsd:gYear ; sch:thumbnailUrl ; write:description """This series consists of big panels in which Chinese characters are written backwards, overturned, crossed out, mutilated or reconstructed. These characters have been taken away from their original function to play a syntactical part in a sentence. They are detached, synthesized, misplaced, overlapped, miswritten, negated and inverted to create an uncertain world. \r In this series, Gu Wenda re-elaborates and deconstructs not only traditional calligraphy and but also traditional landscape ink painting. Instead of mountains, clouds, trees and streams, in fact, abstract and semi-abstract ink marks float across the page along with similarly abstract, pseudo-Chinese characters. Bessire (2003, 198) affirms that: " Gu's audacious explorations, his new techniques, his elimination of individual brush stroke and unreadable Chinese characters, have allowed him to create a new kind of Chinese ink painting: conceptualized abstract ink painting."\r The series is composed of several works, each one exploring different compositions of characters. The most important are: “Characters of ‘Still’ Written by Three Men and Three Woman” (Wo piyue san nan san nu de jing zi 我批阅三男三女书写的静字), “Negative and Positive Characters” (Zhengfan de zi 正反的字), “Misplaced Characters” (Cuowei de zi 错位的字), “Meaningless Characters” (Wuyi de zi 无意的字) and “Modern Meaning of Totem and Taboos” (Tuteng yu jinji 图腾与禁忌). Also works from “The Mythos of Last Dynasties” became part of this series (e.g. “Synthesized Words”, 1985). """@en ; sch:image ; write:includesArtwork . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Dialogue of Heaven: Artificial Intelligence Converses with Qu Yuan (《天问》- seal script)" ; write:description """CWU 1 consists of excerpts from Qu Yuan’s Questions to Heaven (Tianwen 天问) presented in classical Chinese and written in seal script (zhuanshu). The text reproduces the calligraphic transcription created by Huang Yeda for the installation "Inquiry of Heaven" (2023), preserving both the visual form of the original work and its historical reference to the script traditions associated with the state of Chu. The characters appear in red against a black background, recalling the cinnabar inscriptions and dark surfaces of the original installation while reinforcing the ritual and archaic qualities of the script. Traditional Chinese characters are employed throughout, and the text follows the conventional layout of Chinese manuscripts, being arranged in vertical columns and read from top to bottom and from right to left.\r Within the structure of the video, the text of Questions to Heaven appears progressively, section by section, serving as the starting point for the subsequent interaction with artificial intelligence. Each passage is displayed on screen after the completion of an AI-generated response (CWU 3), creating a cyclical sequence in which Qu Yuan’s ancient questions and the machine’s contemporary answers alternate throughout the thirty-three-minute duration of the work.""" ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:numberOfCharacters 1560 ; write:relatedUnit , ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; write:attributedTitle "CWU 1 A Neon Calligraphy Series: Sotheby's (sotheby's)" ; write:description "This CWU consists of the English name of the Sotheby’s corporation, which is written in small yellow Roman neon letters in the upper register of the artwork. It functions as the verbal starting point for Gu Wenda’s “Complex English-Chinese Translation”, first developed for his “Forest of Stone Steles” (1993-2005). From the English name in the top register (CWU 1), the artist transliterates the sounds. of the syllables into Chinese characters (CWU 2). In the lower register, we find new English translations that Gu created by translating back into English each single character (CWU 3). The Chinese and English texts are written in a modern way, from left to right. The last panel at the right bears a vertical column of linear yellow neon Chinese characters as colophon, Gu shi kai dian 谷氏楷典, followed by Gu’s seal in red neon. The colophon can be translated as ‘Mr. Gu’s canon of regular script’, a reference to Gu’s distinctive style of calligraphy (Cateforis 2010,13). " ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasCalligraphicLine false ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:relatedUnit , ; write:transcriptionAndTranslation "sotheby's"@en . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; write:attributedTitle "CWU 3 A Neon Calligraphy Series: Sotheby's (simple thoughts green temple)" ; write:description "CWU 3 consists of a poetic translation of the four Chinese characters (Susibisi 素思碧寺, CWU 2) back into English. The resulting phrase reads as “simple thoughts green temple”. Ironically, this retranslation contrasts the resulting meaning of \"green temple of simple thoughts” with the name of one of the most important temples of the art market. " ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasCalligraphicLine false ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:relatedUnit , ; write:transcriptionAndTranslation "simple thoughts green temple" . a wd:Q7725310 ; wdt:P1071 , ; wdt:P1476 "Mythos of Lost Dynasties Series (遗失的王朝系列)"@en, "遗失的王朝系列"@zh, "Yíshī de wángcháo xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "1983"^^xsd:gYear ; wdt:P582 "1998"^^xsd:gYear ; sch:thumbnailUrl ; write:description """In this series, Gu Wenda invents a new form of writing, based on the ancient seal-script characters, but these new characters are meaningless. Exploring the loss of meaning of writing, Gu Wenda reduces writing to a mere sign.\r Among the works from this series, one is "Synthesized Words" (Chang shen 畅神). The work is exposed in 1985 during a group exhibition entitled "Group Exhibition of the New Traditional Painting of Hubei Province" (Hubei guohua xinzuo yaoqing zhan 湖北国华新作邀请展) held at the Wushang Exhibition Center in the city of Wushang. On that occasion, the work was presented as part of this series entitled "Mythos of Lost Dynasties - Tranquility Comes from Meditation" (Yishi de wangchao - Jingguan de shijie 遗失的王朝 - 静观的世界 ) composed of five oversize hanging scrolls. These five artworks then have become part of the series entitled "Pseudo-characters Series" (Xugou wenzi xilie 虚构文字系列)."""@en ; sch:image ; write:includesArtwork . a write:CalliWritingUnit ; wdt:P282 ; wdt:P407 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 Beijing 2008 Paralympic Games Logo (Beijing 2008)" ; write:description """This CWU consists of the inscription “Beijing 2008,” which forms part of the logo created for the Beijing 2008 Paralympic Games. It is composed of Latin letters and Arabic numerals, yet the typeface emulates the expressive qualities of Chinese calligraphic brushstrokes, integrating different writing traditions and cultures into a unified visual form. The use of black lettering on a white background further recalls the traditional aesthetics of Chinese calligraphy, specifically the contrast of black ink on white paper.\r """ ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:relatedUnit , ; write:transcriptionAndTranslation "Beijing 2008"@en ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P282 ; wdt:P407 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU 3 Beijing 2008 Paralympic Games Logo (Paralympic Games)" ; write:description "This CWU consists of the inscription \"Paralympic Games”, which forms part of the logo created for the Beijing 2008 Paralympic Games. It is rendered in black using a Western-style digital font. This typographic choice distinguishes it from the brush-like, calligraphic aesthetic of the other elements in the logo." ; write:hasBackgroundColour ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:relatedUnit , ; write:transcriptionAndTranslation "Paralympic Games"@en ; write:vectorisedOrDigitised true . a write:DecorativeAndAppliedArt ; wdt:P1071 ; wdt:P1476 "Shanghai 2010 Expo Logo"@en ; wdt:P180 , , ; wdt:P287 ; wdt:P462 , , ; wdt:P571 "2010"^^xsd:gYear ; wdt:P88 ; write:description """The logo of the 2010 Expo, held in Shanghai under the theme “Better City, Better Life” (Chengshi, rang shenghuo geng meihao 城市，让生活更美好), emphasized improving the quality of life through urban development and is remembered as the most widely attended World Expo to date. The emblem, designed by Shao Honggeng 邵宏庚, is inspired by the Chinese character shi 世, meaning “world,” and is shaped to depict three figures—“I, you, and he/she”—holding hands, symbolizing the unity of humanity. The logo conveys the values of understanding, communication, and cooperation, central to the ethos of the Expo.\r In addition to the character shi 世, the logo incorporates the number “2010”, attached to the first element as if it were a natural continuation. The lines are sinuous and flowing, recalling Chinese calligraphy and exemplifying a balance between globalized design and local cultural elements. The visual composition is based on the pictographic form of the character shi 世, represented as three stylized entities arranged in a cross and connected by a continuous line.\r According to the "Shuowen jiezi 说文解字", the earliest surviving Chinese dictionary completed by Xu Shen 许慎 in 100 CE, the original form of the character (㔺) is a modification of the character sa 卅 (thirty), initially composed of the character shi 十 repeated three times, with the lower ends of the two outer vertical strokes converging to form a tree-like branching structure. The character shi 世 also signifies “generation”, reflecting the idea that every thirty years one generation produces the next, just as each branch of the character seems to emanate a successive one.\r The green S-shaped stroke that terminates the image, replicating the final part of the character in its pictographic form, is transformed into the number “2” in “2010” within the logo. These strokes are executed in a brush-like style, highly evocative of calligraphy, further emphasizing the integration of traditional Chinese writing with modern graphic design.""" ; write:hasColophon false ; write:hasDecorativeArtworkType ; write:hasSeal false ; write:hasUnit , ; write:vectorisedOrDigitised true . a write:DecorativeAndAppliedArt ; wdt:P1071 , ; wdt:P1476 "WRITE Project Logo with Luo Qi Calligraphy "@en ; wdt:P180 ; wdt:P462 , ; wdt:P571 "2021"^^xsd:gYear ; wdt:P856 ; wdt:P88 ; sch:thumbnailUrl ; write:calligrapher ; write:description """This is the logo of the research project "WRITE – New Forms of Calligraphy in China: A Contemporary Culture Mirror" (Grant Agreement No. 949645, 2020‑2026) funded by the European Research Council (ERC) and led by the Department of Interpreting and Translation at the University of Bologna (PI: Prof. Adriana Iezzi). The project aims at analysing how the emergence of new forms of calligraphy in contemporary China is re-defining Chinese cultural identity. \r The logo embodies a harmonious integration of Chinese calligraphy and Latin script, aiming to present the encouter of Chinese and European cultures. The red character is a calligraphic artwork by the calligrapher Luo Qi, representing the character xie 写, which translates as “write.” In this rendition, Luo Qi reinterpreted an archaic form of xie 写, blending his distinctive style with elements of running script (xingshu 行书). Notably, the upper portion of this character resembles the letter “W,” which inspired the addition of the letters R-I-T-E to complete the word WRITE. In this logo, the dynamic brushstrokes of the artist converge seamlessly with the structured form of digital typography, creating a visual synthesis of traditional artistry and contemporary graphic design, Chinese and English languages, Chinese writing and Latin alphabet, and extensively between Asian and Euro-American writing cultures. The logo was created by D-Sign graphic design agency in close collaboration with the WRITE team. """ ; write:hasColophon false ; write:hasDecorativeArtworkType ; write:hasSeal false ; write:hasUnit , ; sch:image ; write:vectorisedOrDigitised true . a write:DecorativeAndAppliedArt ; wdt:P1071 ; wdt:P1476 "CAFA ART INFO Logo"@en ; wdt:P179 ; wdt:P180 , ; wdt:P287 ; wdt:P462 , ; wdt:P856 ; wdt:P88 ; wdt:P941 ; write:description """This logo belongs to the artistic organization CAFA ART INFO. This organization is closely related to the Central Academy of Fine Arts (CAFA) in Beijing, and aims to promote domestic and international artistic exchange, enhance the influence of Chinese contemporary art, and provide comprehensive information on art education, exhibitions, and research. Based on its activities and mission, it serves as an information platform and digital, academic, and practical extension of the CAFA. \r In the logo, the phrase CAFA ART INFO is written using the “New English Calligraphy” (Xin Yingwen shufa 新英文书法) or “Square Word Calligraphy” (Yingwen fangkuaizi shufa 英文方块字书法) by Xu Bing. Each of the three words forming the phrase is arranged within an imaginary square, resembling Chinese characters. The letters are constructed as if they were brushstrokes of a character, following an order and method devised by Xu Bing according to precise rules. The strokes composing the letters evoke the ink brushwork of the original artwork, which was subsequently refined and vectorized into a stylized, contemporary logo. This approach produces a hybrid visual language, merging the structural logic of Chinese calligraphy with the legibility of Latin script.""" ; write:hasColophon false ; write:hasDecorativeArtworkType ; write:hasSeal false ; write:hasUnit ; write:vectorisedOrDigitised true . a write:DecorativeAndAppliedArt ; wdt:P1476 "DRAWSHINE (妆写) Logo"@en, "妆写"@zh, "Zhuāng xiě"@zh-Latn ; wdt:P180 , , ; wdt:P462 , ; wdt:P941 ; wdt:P973 ; write:description """DRAWSHINE (Zhuangxie 妆写) is a brand that produces cosmetics in porcelain containers, contains multiple references to Chinese tradition. The left part of the logo explicitly evokes the jade "ruyi 如意", an object historically used as a ceremonial scepter or as an amulet symbolizing power and good fortune, whose flat upper surface was traditionally inscribed with characters. Similarly, the brand logo references this upper portion of the "ruyi" by inscribing the brand name within it, reinterpreting the pictographic form of the character "zhuang 妆" (“to apply makeup” or “to beautify”). Of particular interest is the right-hand component, the “woman” radical (nü 女), which appears mirrored in the left-hand component (qiang 丬), alluding to the world of women’s cosmetics that the logo represents.\r The allusion to the jade "ruyi", which can also resemble a traditional seal, lends an aura of elegance and refinement to the brand’s products. On the left, the brand name is displayed both in Chinese characters, zhuangxie 妆写 (zhuang 妆: “to apply makeup” or “to beautify”; xie 写: “to write”), and in its English equivalent, Drawshine. The various shades of green in the logo’s background harmonize with the lighter yellow tones of the text and seal, echoing the characteristic color of Celadon porcelain.""" ; write:hasChineseVisualElement , , ; write:hasColophon false ; write:hasDecorativeArtworkType ; write:hasSeal false ; write:hasUnit , , ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU 1 DRAWSHINE Logo (妆)" ; write:description """This CWU is placed within the "ruyi 如意" form in the left part of the DRAWSHINE logo. "Ruyi" is an object historically used as a ceremonial scepter or as an amulet symbolizing power and good fortune, whose flat upper surface was traditionally inscribed with characters. This CWU consists of the character "zhuang 妆"(to apply make-up/to beautify) written in small seal script (xiaozhuan 小篆) . The character is composed of the radical "nü 女" (woman) - on the right, that is rendered through the stylized figure of a woman, and of the left-component "qiang 丬" (piece of wood, half tree trunk, bed), that looks like a mirror in which the woman is looking at herself. this sense of mirroring generates a sense of visual symmetry and reinforcing the thematic focus on femininity. The interplay between these two components transforms the character into a harmonious, balanced form that visually resonates with the aesthetics of traditional Chinese calligraphy, while simultaneously being adapted for contemporary brand design. Conceptually, this CWU embodies the fusion of heritage and modernity, conveying notions of beauty, personal care, and elegance, while serving as a distinctive visual identifier for the DRAWSHINE brand.\r """ ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasCalligraphicLine false ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:numberOfCharacters 1 ; write:relatedUnit , ; write:transcriptionAndTranslation "To apply make-up/to beautify"@en, "妆"@zh, "Zhuāng"@zh-Latn ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU 2 DRAWSHINE Logo (妆写)" ; write:description "This CWU consists of the two characters \"zhuang xie 妆写\" (Drawshine) in the left part of the DRAWSHINE logo. The digital font used for the characters recalls the regular script style (kaishu 楷书) of writing with its varying thicknesses. These two characters that composed the brand name do not exist as a meaningful word, but individually \"zhuang 妆\" means to apply makeup /to beautify, and \"xie 写\" means to write. " ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:numberOfCharacters 2 ; write:relatedUnit , ; write:transcriptionAndTranslation "Makeup"@en, "妆写"@zh, "Zhuāng xiě"@zh-Latn ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P282 ; wdt:P407 ; wdt:P462 ; write:attributedTitle "CWU 3 DRAWSHINE Logo (DRAWSHINE)" ; write:description """This CWU consists of the word "DRAWSHINE" written in Latin capital letters at the bottom left of the Drawshine logo. The English brand name, Drawshine, is rendered in a custom typographic style that visually complements the Chinese characters "zhuangxie 妆写", just above them.\r Functionally, this unit serves as a bridge between traditional Chinese cultural symbolism (A COSA TI RIFERISCI?) and the international market, allowing non-Chinese audiences to access the brand identity while maintaining conceptual continuity with the original (CHINESE?) characters. The typography (DI QUALE TIPO?) reinforces the brand’s global orientation, elegance, and refinement, ensuring that the textual element of the logo (SOLO QUELLI DI QUESTA CWU O IN GENERALE?) communicates both the name and the ethos of DRAWSHINE in a manner that is legible, aesthetically harmonious, and culturally resonant.""" ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasCalligraphicLine false ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:relatedUnit , ; write:transcriptionAndTranslation "DRAWSHINE" ; write:vectorisedOrDigitised true . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Light Writing: The Heart Sutra n. 22 (光写书法：心经 22)"@en, "光写书法：心经 22"@zh, "Guangxie shufa: Xin Jing n. 22 "@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 ; wdt:P2048 "100 cm" ; wdt:P2049 "133 cm" ; wdt:P462 , , ; wdt:P571 "2005"^^xsd:gYear ; wdt:P941 ; write:description """Qiu Zhijie’s photograph "Light Writing: The Heart Sutra No. 22 (光写书法：心经 22)" features the characters Wuyi shijie 無意識界 [无意识界], translated as “In the Void” or “No Realm of Consciousness,” an excerpt from the Heart Sutra. The photograph was realized in 2005 at the Hebei Quyang Dafotou (Great Buddha Head) of Quyang County (Hebei province).\r Part of the "Light Writing Calligraphy – Heart Sutra Series", this work is one of fifty-five photographs in which Qiu reimagines calligraphy through light painting, preserving its performative gestures while expanding it into new media.\r The process is site-specific and nocturnal: light replaces brush and ink, and long-exposure photography captures the unfolding gesture. The resulting images function both as traditional calligraphy and as ephemeral public interventions, shareable via social media, reaching audiences beyond the conventional gallery.\r Qiu’s practice also engages Buddhist iconography, particularly Buddha Amoghasiddhi, associated with the gesture of courage (Abhayamudra): the right hand raised at chest level with the palm outward, symbolizing the power to dispel fear and cultivate a mind free from resentment, especially envy. Amoghasiddhi is one of the five transcendent Buddhas, embodying victory over obstacles.""" ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; write:vectorisedOrDigitised true . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Writing the 'Orchid Pavilion Preface' One Thousand Times (重复书写一千遍 '兰亭序') - Photographs"@en, "重复书写一千遍 '兰亭序'"@zh, "Chóngfù shūxiě yī qiān biàn 'Lántíng Xù'"@zh-Latn ; wdt:P170 ; wdt:P180 , , ; wdt:P186 , ; wdt:P2048 "80 cm" ; wdt:P2049 "75 cm" ; wdt:P462 , ; wdt:P571 "1990"^^xsd:gYear, "1995"^^xsd:gYear ; wdt:P608 , ; sch:thumbnailUrl ; write:derivesFrom ; write:description "This artwork is the final result of the performance entitled \"Writing the 'Orchid Pavilion Preface' One Thousand Times\" (重复书写一千遍 '兰亭序'). In this performance, Qiu Zhijie decides to devote himself to copying the work \"Lanting xu 兰亭序\" (Orchid Pavilion Preface) composed by Wang Xizhi in 353 AD. Qiu Zhijie repeatedly copies the work a thousand times on the same piece of rice papersheet. Repeatedly writing over his free-hand interpretation of the original, Qiu turns the paper into a saturated black field. By focusing on the process of writing rather than on its literary content, Qiu asserts that the ultimate goal of calligraphic practice is a form of \"written meditation\"."@en ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q184485 ; wdt:P1476 "1988-2025 - Hair Painting"@en ; wdt:P175 ; wdt:P180 , , ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P2047 "PT1H"^^xsd:duration ; wdt:P276 , ; wdt:P585 "2025"^^xsd:gYear ; wdt:P856 ; sch:thumbnailUrl ; write:createsArtwork ; write:description """This performance constitutes an autobiographical and transgenerational project that examines the relationship between personal experience, family memory, and artistic practice. The work originates from two distinct yet related events: in 1988, the artist’s mother took her five-year-old daughter to the Great Wall of China shortly after her divorce, crossing the site during a sandstorm that significantly reduced visibility and made orientation difficult; in 2011, following her own divorce, the daughter—Echo Morgan—began developing a performance-based practice centered on the use of her own hair as a painting tool.\r The Great Wall is approached as a concrete, historically charged location. In the account of 1988, the sandstorm is described not symbolically but as an environmental condition that physically obstructed movement and altered spatial perception. The experience of walking under limited visibility became a foundational element in the family’s shared memory.\r In 2025, mother and daughter returned together to the same site. The visit took place in spring, under stable weather conditions, with apricot blossoms in bloom and diffused natural light. This return created a direct comparison between two historical moments in the same location, highlighting the differences in both environmental circumstances and biographical stages.\r The project is realized through a live hair painting performance executed by Echo Morgan. The artist uses her own hair as a brush, dipping it into black ink and dragging it across the surface of a canvas. The action requires repeated movements of the head and upper body, producing broad, continuous marks.\r The use of hair as a painting instrument removes the mediation of a conventional brush and establishes direct contact between body and surface. Black ink is selected for its density and chromatic uniformity, allowing variations in pressure, direction, and rhythm to remain clearly visible. The resulting marks document the duration of the action and the physical relationship between body, gravity, and material. In this sense, the canvas does not function as a figurative image but as a material record of a performative act.\r The overall structure of the work emphasizes cyclical temporality: two generations of women visit the same site at different moments in their lives, both following marital separation. The return in 2025 does not replicate the experience of 1988 but recontextualizes it within a new biographical and artistic framework.\r Through the repetition of the hair painting practice—initiated in 2011 and further developed in subsequent years—Echo Morgan transforms a personal event into an artistic methodology. The performance integrates individual memory, family history, and bodily gesture into a single operational process in which the body functions simultaneously as instrument, subject, and archive of lived experience.""" ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image ; write:madeUsingTool wd:Q28472 ; sch:video . a wd:Q4502142 ; wdt:P1071 , ; wdt:P1476 "1988-2025 - Hair Painting - Artwork"@en ; wdt:P170 ; wdt:P180 , , ; wdt:P186 , ; wdt:P2048 "7 m" ; wdt:P2049 "1.75 m" ; wdt:P462 , ; wdt:P571 "2025"^^xsd:gYear ; wdt:P856 ; sch:thumbnailUrl ; write:derivesFrom ; write:description "This artwork is part of the performance \"Hair Painting Greatwall 2025\" realized by Echo Morgan in 2025 at the Great Wall of China. The artwork consists of black ink marks, lines, and dots applied to canvas using Echo Morgan’s hair as a brush. Many marks are circular or semicircular, while others form dense patches or thin, flowing lines, reflecting the pressure and movement of her body during the performance. The variation in density and layering creates a dynamic, rhythmic surface that records the physical gestures in real time. Monochrome black emphasizes the gestural quality, turning the canvas into a material archive of the artist’s performance and the cyclical, repetitive nature of her movements." ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1476 """Earth Script – Dust (土书 - 薼)\r """@en, "土书 - 薼"@zh, "tǔ shū - chén"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , ; wdt:P186 ; wdt:P2048 "120 cm" ; wdt:P2049 "70 cm" ; wdt:P462 ; wdt:P571 "2018"^^xsd:gYear ; sch:thumbnailUrl ; write:description "\"Dust\" is part of Song Chen’s series titled \"Earth Script\", realized in 2018. The work presents a graphic variant of the character for 'dust' (chen 尘), rendered in the rare form 薼. The content implied by this character is influenced by Buddhist thought and reflects on the essence of existence: “life emerges from soil and ultimately returns to it, dust to dust, earth to earth” (artist's interview 2025). The medium foregrounds ‘dust’ as both substance and concept/message of transience and impermanence. " ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "From Ink to Apparel II - Polly Ho Intangible Tangent Collection"@en, "读衣II - 何善恒曲曲時裝"@zh, "Dú yī II - Hé Shànhéng Qūqū shízhuāng"@zh-Latn ; wdt:P170 , ; wdt:P580 "2017"^^xsd:gYear ; sch:thumbnailUrl ; write:description "Series of five garments, inspired by Tong Yangtze’s calligraphic works. All garments aim to represent the fluidity of the movement through an ensemble of strips made of three different types of silk fabrics, whose silhouette is taken from the famous calligrapher’s strokes. On the strips are then found enlarged prints of the abovementioned calligraphic lines. With this series the designer explores what she defines as the “complicated and strong” strokes and movements of Tong Yangtze."@en ; sch:image ; write:includesArtwork . a write:CalliWritingUnit ; wdt:P144 ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU Ten Tang Poems (unknown)" ; write:description "The poems written by Qiu Zhijie are ten Tang poems. The characters are written inversely, from left to right and from bottom to the top. Every stroke order is also written inversely."@en ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf , , ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P1343 "Vermeeren, Laura. 2020. Inquisitive Ink: A study of contemporary practices of calligraphy in China. Phd dissertation. University of Amsterdam: 209-10. "@en, "Today Art Museum (ed.). 2011. Mengbo 2012 梦波2012 (Mengbo 2012). Hong Kong: China Today Art Museum Publishing."@zh ; wdt:P180 , , , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 Eye Charts - Feng's Vector (signs)" ; write:description """This CWU consists of the typeface Feng's Vector (Shiliangfeng 矢量冯), created by Feng Mengbo for the second panel of Eye Charts (2011). Unlike the pixel-based reduction of Feng's Bitmap, this typeface reduces Chinese characters to delicate vector lines generated through mathematical formulas. The reduction process is inspired by stone flowers (shihua 石花), rubbings taken from eroded or damaged steles in which only faint traces of the original inscriptions remain. By digitally reinterpreting these historical fragments, Feng Mengbo preserves their visual memory through artistic remediation while accelerating the natural process of erosion. The resulting characters are stripped to their essential structures and positioned at the threshold between readability and unreadability.\r The artist explores the notions of distortion and the inversion of reality. In a deliberate paradox, the larger the characters appear, the less legible they become; the smaller they are, the clearer they read. Through this inversion, Feng challenges conventional perception and questions the reliability of visual systems. The artwork thus becomes a meditation on how digital logic, based on quantification, scaling, and code, reshapes our perception between visibility and abstraction.""" ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image ; write:isUnitOf ; write:numberOfCharacters 180 ; write:relatedUnit , ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU 3 Eye Charts (numbers)" ; write:description "This CWU consists of the numerical values displayed along both sides of the eye chart associated with each row of characters. As in a standard eye chart, these values provide a reference scale, allowing each line to be identified according to its corresponding acuity level. In this work, the numbers function as a familiar visual guide, preserving the conventional structure of an eye chart while supporting the viewer's interpretation of the progressively characters which are less and less recognizable." ; write:hasBackgroundColour ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:relatedUnit , ; write:vectorisedOrDigitised true . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Surrounding (围)"@en, "围"@zh, "圍 "@zh, "Wéi"@zh-Latn ; wdt:P170 ; wdt:P180 , , ; wdt:P186 , ; wdt:P2048 "68 cm" ; wdt:P2049 "68 cm" ; wdt:P462 , ; wdt:P571 "1991"^^xsd:gYear ; wdt:P608 ; write:description "“Surrounding” (Wei 围) executed in 1991 by Shao Yan, is composed by two opposing heavy vertical lines that incline from upper left to lower right and frame the artwork, and two horizontal lines that continue beyond the edge of the paper and appear cropped or abbreviated. Inside the frame, the first two horizontal lines are executed in centered-tip brushwork with “flying white” technique while the two horizontal lines in the lower part of the work are drown with moist ink, spread toward the right and merge in a heavier stroke. In the upper part of the work Shao Yan executes a vertical line that parallels the two lines framing the work and another one to the right side that inclines from left to right. In the lower part he brushes a short and thick vertical line placed off-centerd (compared with the central position it takes in the character “wei”). In the middle part Shao Yan executes the element “口”, in a trapezoidal shape rather than in the original square shape. This element works with the four lines of the frame to balance the entire work. Although the outlines of this work seem to represent an ancient city wall where people are forced to live, the reference to reality is minimal and the work tends towards abstraction. In this work Shao Yan was influenced by “few characters” Japanese calligraphic movement and Western abstract expressionism, in particular by Franz Kline."@en ; write:hasVisualArtworkType , , ; write:hasColophon false ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Chaos (混沌)"@en, "混沌 "@zh, "Hùndùn"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , , , ; wdt:P186 , , ; wdt:P2048 "220 cm" ; wdt:P2049 "100 cm" ; wdt:P462 , ; wdt:P571 "2011"^^xsd:gYear ; write:description "“Chaos” (混沌) is an artwork executed in 2011 by Shao Yan combining the technique of ink “washed” in water (shui de “chongxi” 水的 “冲洗”) with the use of a syringe. The artist added water to the ink in the syringe and then injected it on the paper allowing it to flow strong and free. The syringe emits a rustling sound that remembers the heart's pained cry when blood is sucked through the aorta artery.The work has a bitter taste because it is a reminder of the experience between life and death lived by the artist during various heart surgeries. Shao Yan decided to limit the work beauty by only executing solid lines. The initial buzzing sound emitted by the ink escaping from the syringe, gradually fades into silence. The sound could represent the flowing blood that, when stopping, puts an end to life."@en ; write:hasVisualArtworkType , , ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a write:DecorativeAndAppliedArt ; wdt:P1071 ; wdt:P1476 "Best Wishes (如意)"@en, "如意"@zh, "Rúyì"@zh-Latn ; wdt:P179 ; wdt:P180 , ; wdt:P186 , ; wdt:P2284 "several thousand" ; wdt:P287 ; wdt:P38 ; wdt:P462 , ; wdt:P571 "2022-09"^^xsd:gYearMonth ; wdt:P856 , ; sch:thumbnailUrl ; write:description "Best wishes (Ruyi 如意) is an artwork executed in September 2022 by Shao Yan. This artwork belongs to a series of works executed by the artist during September 2022. Inspired by Ming “blue and white porcelain” (Qinghuaci青花瓷), the artist writes the two characters ruyi 如意 on a Chinese porcelain bottle vase (composed of a globular body and a long thin neck), employing a brush and blue ink. The character \"ru\" 如 is written in running script (行书) and also the character \"yi\" 意 is written in running script, but its component parts \"li\" 立 and \"ri\" 日 are written using the seal script forms (zhuanshu zixing 篆书字形). Shao Yan combines the structure of the characters and the shape of the bottle mouth vessel creating a work of unique elegance and beauty. The series is composed of several white vases of different shapes and types (“bottle” vase, “plum” vase, “gourd” vase, “pear shaped” vase, “cylinder” vase etc.) , which are carried out using two distinct tools and techniques: for some of them, Shao Yan writes the characters with a brush while he holds the vase steady with his free hand or he gets help from his assistants. For other works, he uses a syringe to inject the blue ink on the vessels that are located on a rotating base. For the entire collection, Shao Yan writes auspicious words carrying a good-luck meaning and he aims to combine the structure of Chinese characters or the lines and marks formed by the ink jet with the shapes of porcelain vases."@en ; write:hasChineseVisualElement , , ; write:hasColophon false ; write:hasDecorativeArtworkType ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool . a write:DecorativeAndAppliedArt ; wdt:P1071 ; wdt:P1476 "Shao Yan Ceramic Ink Shooting (邵岩射墨的瓷瓶)"@en, "邵岩射墨的瓷瓶"@zh, "Shào Yán shè mò de cípíng"@zh-Latn ; wdt:P179 ; wdt:P180 , ; wdt:P186 , ; wdt:P2284 "several thousand RMB" ; wdt:P287 ; wdt:P38 ; wdt:P462 , ; wdt:P571 "2022-08"^^xsd:gYearMonth ; wdt:P856 , ; sch:thumbnailUrl ; write:description "This artwork, executed in August 2022 by Shao Yan belongs to a series of works created during that month. For this work, Shao Yan uses a syringe to inject black ink on the Chinese white bottle vase (composed of a elongated oval body and a double concave thin neck) which is located on a rotating base. Shao Yan’s aim is to adapt the lines and marks created by the ink jet with the oval body and the concave thin neck of the vessel."@en ; write:hasColophon false ; write:hasDecorativeArtworkType ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 With Irresistible Force (势如破竹)" ; write:description """This Calli-Writing Unit that is placed in the central part of the artwork is composed of the four characters of the title (shirupozhu 势如破竹) written in a very hard wildstyle. They form a Chinese "four-character idiom" (chengyu 成语) and are surrounded by other two wildstyle pieces: the first one, on the upper left, is probably by EricTin, because of the leitmotiv of the sphere with the traditional character "Guan 觀" in the centre, and of the thin pinnacles sprouting from the intricate characters; the second one, on the lower right, is by Yumi (the small tag written in red confirms his authorship) and its undecipherable forms suggest a big fire whose flames burn and generate the whole artwork. The central piece is by Natuo, because the letters of his name are intermingled and blended into the strokes of the Chinese characters. \r The insertion of this chengyu in the central piece of the work has a specific purpose. As EricTin explains: "I like using four-characters chengyu as the basis of my works, because there is always a story behind them that exceeds the literal meaning of the four characters" (interview 2015). The literal meaning of shirupozhu is "having a power (shi) to (ru) cut down (po) a bamboo (zhu)". It originally refers to the act of smashing into enemy territory "like splitting a bamboo". This idiom refers to the traditional way of splitting bamboo by cutting a slit on the top of it in such a way that it splits in two halves. The idiom describes incisive and "overwhelming power". This reference to an "overwhelming power" is probably an indirect quote of the motto of the crew "push forward with an overwhelming momentum" recorded in their logo. \r This expression comes from the Book of Jin (Jinshu 晋书): it is quoted in the fourth chapter of the third section about Biographies (Lie zhuan 列传) of the Book, that is the 34th volume (juan 卷) of the whole text. The second half of this chapter focuses on Du Yu 杜预 (222-285), a military general of the Wei state (220-265) in the late Three Kingdoms period (220-280) and early Jin Dynasty (265-420). In 265, the ruler of the Wei state abdicated in favour of the Prince Sima Yan 司马炎 (236-290), who ended the Wei state and became the first emperor of the Jin Dynasty. Du Yu became one of his most powerful general and he led an army in the conquest of the Wu state (222-280), their bitter rival. In 280, before the last and crucial attack against the Wu army, Du Yu pronounced the four characters of the chengyu (shirupozhu) to incite the troops, reminding them that until that moment they had smashed into enemy territory without difficulty "like splitting bamboo", so they must not be afraid to join the battle. His speech produced the desired effect: his army won the battle, the Wu state was conquered and the Chinese territory was reunified. Using this chengyu, the Kwanyin Clan wants to connect Du Yu’s story with the main theme of the artistic project that inspired its graffiti work. The subject of the Kwanyin Clan piece for the opening of the event was the "post-up" (tupo 突破). In Chinese, "tupo" literally means "make a breakthrough, break through a defence" so the Kwanyin Clan chose the expression "Shiripozhu" (With Irresistible Force) as the fil rouge of its work, linking Lebron’s and Du Yu’s stories. """@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , , , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf , , ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:relatedUnit , ; write:transcriptionAndTranslation "Having a power to cut down a bamboo"@en, "势如破竹"@zh, "Shìrúpòzhú"@zh-Latn . a write:DecorativeAndAppliedArt ; wdt:P1071 ; wdt:P1476 "Watching the Sea and Listening to the Waves (观海听涛) "@en, "观海听涛"@zh, "Guān hǎi tīng tāo"@zh-Latn ; wdt:P179 ; wdt:P180 ; wdt:P186 , ; wdt:P2048 "40 cm" ; wdt:P2049 "23 cm" ; wdt:P2284 "3000 RMB" ; wdt:P287 ; wdt:P38 ; wdt:P462 , ; wdt:P571 "2015"^^xsd:gYear ; wdt:P856 , ; sch:thumbnailUrl ; write:description """"Watching the Sea and Listening to the Waves (Guan hai ting tao 观海听涛)" is one of the artworks executed in 2015 by Shao Yan. This artwork was exhibited the same year (May 15 – June 7) at the "Calligraphy and Ceramics Art Exhibition" (Shufa taoci yishu zhan 书法陶瓷艺术展) opened in Suzhou at the Ming Art Museum (Ming meishuguan 明·美术馆). The exhibition, called “Between Squares and Circles” (Fangyuan zhejian方圆之间), featured 60 pieces of calligraphy works carried out by three outstanding young and middle-aged calligraphers in contemporary China: Shao Yan, Li Qiang 李强 and Xu Guixun 徐圭逊. The works, as the title suggests, had to present forms and styles similar to circles and squares. The artwork is a cylindrical “maotong” (帽筒) vase in white porcelain. Shao Yan engraved the four characters on the surface of the vessel and then filled in the blue color. The four characters recall the "bird seal script" (niao zhuan 鸟篆), a kind of artistic script in common use during the late Warring States period (475-221 BC). This script is characterized by gently and intricated curved lines decorated with bird designs. In this work, Shao Yan re-elaborates this script drawing birds and fishes in a naïf style, recalling the acquatic scene evoked by the four characters. \r The work respected the purpose of the exhibition that was not only to show the combination of traditional and modern art, but also to promote Chinese traditional culture. In fact, even though Shao Yan’s work reflected the taste and culture of the present time, it still maintained the true meaning and essence of Chinese characters. """@en ; write:hasChineseVisualElement ; write:hasColophon false ; write:hasDecorativeArtworkType ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool , . a write:CalliWritingUnit ; wdt:P144 ; wdt:P1480 ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 With Irresistible Force (《满 江红》)" ; write:description """This Calli-Writing Unit is the long calligraphy situated on the upper right side of the artwork. According to EricTin (interview 2016), the content of this calligraphy is inspired by the poem "Full River Red (Man jiang hong 满 江 红 )" composed by the General Yue Fei (1103-1142), who wrote it during one of the last battles against the northern barbarians, before the final withdrawal of his imperial army. \r Yue Fei, an esteemed officer of the Northern Song army, staunchly opposed the retreat in the face of the Jurchen-Jin invasion of northern China in 1127. Despite the fall of the Northern Song Dynasty, Yue Fei continued his service under the Southern Song Dynasty (1127-1279), engaging in continuous battles against the Jurchen. His military success against the Jin in 1140 was overshadowed by the Southern Song Emperor's decision to seek peace, leading to Yue Fei's abrupt withdrawal and the undoing of his decade-long achievements. It was during one of these victorious campaigns against the Jin that Yue Fei composed the poem "Full River Red", expressing his determination to reclaim lost territories, fight against invaders, and rally imperial support for his cause. In this poem, in fact, Yue Fei expresses his anger and wrath towards the enemy, as well as his regret for the emperor’s decision to withdraw his troops on the verge of reconquering lost lands. \r The calligraphy is executed in running script (xingshu 行书), and it is characterized by a tangled and tense style that effectively conveys the tumultuous battles and intense passion described in the poem. \r The connection between Yue Fei’s resolute behavior as depicted in his poem and the "post-up" movement depicted in the graffiti artwork centers around the four-character chengyu "shirupozhu" (势如破竹) positioned at the artwork's core. Both the posture of a basketball player in a post-up position and that of a military general confronting adversaries are marked by "irresistible force". In basketball, executing a post-up involves shielding one's defender with the body to facilitate receiving a pass or making a shot. Similarly, Yue Fei aimed to shield the territories he had reconquered with his army and persist in advancing to return them to the emperor.\r This thematic convergence illustrates the enduring appeal of themes such as determination, resilience, and strategic positioning across different cultural and historical contexts, linking the artistry of graffiti with the valor of historical military figures like Yue Fei."""@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 115 ; write:relatedUnit , . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 , ; wdt:P407 , ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 3 With Irresistible Force (tags)" ; write:description """This Calli-Writing Unit is composed of the red inscription located on the lower left side of the artwork. This inscription is notable for its juxtaposition of Chinese characters and Latin letters, a characteristic often seen in other works by the Kwanyin Clan. Vertically, the characters "GuanYin" (观音) are written in cursive-running style (xingcaoshu 行草书), while horizontally, the names or tags of the crew members who contributed to the artwork (ERICTIN, NAT, YUMI, QUANER) are written from left to right, following the convention of graffiti pieces. Despite the differences in writing systems—Chinese characters versus Latin letters—the writing style of both characters and letters is identical. This uniformity creates a visual harmony, effectively merging Chinese and Western artistic traditions within a single artwork. The use of red in this inscription further evokes the tradition of red seals in traditional Chinese art for several reasons: \r 1. Red Color: Red is traditionally associated with auspiciousness, vitality, and importance in Chinese culture. Red seals are commonly used to mark significance, authenticity, or ownership.\r 2. Position: The placement of the red inscription, particularly with the signature of the artists, echoes the customary positioning of seals in Chinese art, often found in a corner or prominent location.\r 3. Content: The inclusion of the signature of the artists within the red inscription reinforces its function akin to a seal, indicating authorship and ownership of the artwork.\r In essence, this graffiti inscription not only blends artistic techniques from different cultural backgrounds but also pays homage to traditional Chinese art practices through its use of red, position, and content, thereby enriching the artwork with layers of cultural significance and aesthetic appeal."""@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf , , ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:relatedUnit , ; write:transcriptionAndTranslation "ERICTIN, NAT, YUMI, QUANER"@en, "观音"@zh, "Guānyīn"@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Ding Feifei 丁斐斐" ; wdt:P27 ; wdt:P453 ; wdt:P569 "1992-08-21"^^xsd:date ; wdt:P800 , ; wdt:P812 ; wdt:P937 ; write:description "Ding Feifei started painting in high school and thoroughly studied Chinese painting. She studied design and visual communication at University. She hasn't studied calligraphy in an academic field, but she enjoys experimenting with Chinese writing. " ; write:hasCalligraphicTraining "Self-Taught"@en . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Drifting Traces (踪迹漂流)"@en, "踪迹漂流"@zh, "Zōngjì piāoliú"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2001"^^xsd:gYear ; write:description "This installation was made by Zhang Qiang in 2001 in a small mountain area of Shangdong. Zhang Qiang with his female counterpart Chen Wei 陈蔚, paints traces of ink on geometric shapes made of plaster. Then, he places them between the branches of trees and between the cracks of a white stone wall. This installation is a reflection of the relationship between man and nature. "@en ; write:hasVisualArtworkType , ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Daoist Talisman (道符)"@en, "道符"@zh, "Dào fú"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , ; wdt:P186 , , ; wdt:P2048 "60 cm" ; wdt:P2049 "60 cm" ; wdt:P462 , , ; wdt:P571 "2017"^^xsd:gYear ; wdt:P856 ; write:description "In this artwork, Qiu Zhijie reproduces four characters representing a Daoist talisman, carving on a layer of concrete. After the plate is dry, the inscription was printed on paper by rubbing with ink, and a new layer of concrete was poured, upon which a new set of characters was then inscribed. The style of the characters is formal, recalling the seal style and a type of decorative style also present in ancient utensils. It could also represent a real seal." ; write:hasVisualArtworkType ; write:hasUnit ; write:madeUsingTool . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Zhang Qiang's Traceology Report A/J Model - The Divine Brush comes to Jingde Series (张强踪迹学报告 A/J 模型 - 神来景德之笔系列)"@en, "张强踪迹学报告 A/J 模型 - 神来景德之笔系列"@zh, "Zhāng Qiáng zōngjì xué bàogào A/J móxíng - shén lái jǐng dé zhī bǐ xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "2018"^^xsd:gYear ; wdt:P582 "2022"^^xsd:gYear ; sch:thumbnailUrl ; write:description """This series by Zhang Qiang runs from 2018 to 2022. In these four years, Zhang Qiang participates in three different exhibitions that took place at the "Sanbao Ceramic Art Base" of Jingdezhen (景德镇三宝蓬艺术聚落) giving life to calligraphic performances. The female counterpart is holding and rotating some ceramic objects (of different shapes and sizes) while Zhang Qiang, looking away, writes on the objects with a particular glaze used to decorate ceramics, leaving traces on them. During the performance, the female counterpart freely chooses background music from her mobile phone. At the end of the performance, the ceramics are donated to the sponsors and organizers of the exhibition, while the remaining part is added to Zhang Qiang's private collection. On the ceramics there is often a "red sign", representing the two characters of the name of the female counterpart. \r The first exhibition takes place in October 27, 2018, the second from 19 to 29 January, 2019 and the third in June, 2022.\r In 2018, Zhang Qiang did three performances, collaborating with three different female counterparts: 1) Zhang Qiang's Traceology Report A/J 1 (Zhan Yuanyuan) Model [张强踪迹学报告A/J 1 (詹苑源)]; 2) Zhang Qiang's Traceology Report A/J 2 (Ren Yixin) Model [张强踪迹学报告 A/J 2 (任一心) 模型]; 3) Zhang Qiang's Traceology Report (Xie Xueke) Model [张强踪迹学报告 A/J 3 (谢雪珂) 模型].\r In the 2019 Exhibition Zhang Qiang did five performances: 1) Zhang Qiang's Traceology Report A/J 4 (Gu Yun) Model [张强踪迹学报告 A/J 4 (顾韵) 模型]; 2) Zhang Qiang's Traceology Report A/J 5 (Zhang Qingzhi) Model [张强踪迹学报告 A/J 5(张青枝) 模型]; 3) Zhang Qiang's Traceology Report A/J 6 (Guan Wenru) Model [张强踪迹学报告 A/J 6 (关文茹) 模型 ]; 4) Zhang Qiang's Traceology Report A/J 7 (Gao Ya) Model [张强踪迹学报告A/J 7 (高雅) 模型 ]; 5) Zhang Qiang's Traceology Report A/J 8 (Jane Yijing) Model [张强踪迹学报告A/J 8 (简怡静) 模型 ].\r In 2022, Zhang Qiang did other three performances: 1) Zhang Qiang's Traceology Report A/J 9 (Wang Lina) Model [张强踪迹学报告 A/J 9 (王丽娜) 模型]; 2) Zhang Qiang's Traceology Report A/J 10 (Zhou Wenqian) Model [张强踪迹学报告 A/J 10 (周文倩) 模型]; 3) Zhang Qiang's Traceology Report A/J 11 (Gu Tiantian) Model [张强踪迹学报告A/J 11 (郭天天) 模型]. """@en ; sch:image ; write:includesArtwork , . a write:CalliWritingUnit ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Zhang Qiang's Traceology Report A/J 5 (Zhang Qingzhi) Model - The Divine Brush comes to Jingde (lines)" ; write:description "This CWU is part of the performance \"Zhang Qiang's Traceology Report A/J 5 (Zhang Qingzhi) Model - The Divine Brush comes to Jingde [张强踪迹学报告 A/J 5 (张青枝) 模型 - 神来景德之笔]\" which took place in 2019 at the Sanbaopeng Ceramic Art Base of Jingdezhen (Jingdezhen sanbao peng yishu juluo 景德镇三宝蓬艺术聚落). It consists of \"decorative traces\" written by Zhang Qiang with the brush on some ceramic objects, using a particular glaze (you liao 釉料) traditionally used to decorate Chinese ceramics."@en ; write:directionality "Free" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasSignificance "Set of lines (meaningless)" ; sch:image ; write:isUnitOf , ; write:madeUsingTool ; write:relatedUnit . a write:CalliWritingUnit ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 Zhang Qiang's Traceology Report A/J 5 (Zhang Qingzhi) Model - The Divine Brush comes to Jingde (seal)" ; write:description "This CWU is part of the performance \"Zhang Qiang's Traceology Report A/J 5 (Zhang Qingzhi) Model - The Divine Brush comes to Jingde [张强踪迹学报告 A/J 5 (张青枝) 模型 - 神来景德之笔]\" which took place in 2019 at the Sanbaopeng Ceramic Art Base of Jingdezhen (Jingdezhen sanbao peng yishu juluo 景德镇三宝蓬艺术聚落). It consists of the two characters written in red \"青枝\" (Qingzhi) which represent the signature of the female counterpart Zhang Qingzhi."@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:relatedUnit ; write:transcriptionAndTranslation "Qingzhi (name of the artist)"@en, "青枝"@zh, "Qingzhi"@zh-Latn . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Biface Graphy - Jinshanling Great Wall Installation (双面书法 - 金山岭长城装置)"@en, "双面书法 - 金山岭长城装置"@zh, "Shuāng miàn shūfǎ - Jīnshānlǐng Cháng chéng zhuāngzhì"@zh-Latn ; wdt:P170 , ; wdt:P180 , , , , , ; wdt:P186 , ; wdt:P2049 "50 m (each)" ; wdt:P462 , ; wdt:P571 "2013-06"^^xsd:gYearMonth ; write:description """This installation was created in June 2013 by Zhang Qiang and Lia Wei. After performing a "Biface Graphy" (双面书法) performance, Zhang Qiang and Lia Wei hung for two/three hours the three "traced" long silk scrolls (each 50 meters long) on the top of the Jinshanling Great Wall. Through a long tube made of plastic, the rolls of silk are fixed with a rope and, once hung, there is an automatic system that allows them to open. As Zhang Qiang specified, the silk rolls were left hanging for only a few hours due to complaints from tourists, who considered them a sign of bad luck (white, in this case, is a color associated with funerals).\r Some examples of this kind of installations are realized in: \r 1) November 2010 at the Xijiang Qianhu Miao Village (Xijiang Qianhu Miao zhai 西江千户苗寨), an ancient village in the Guizhou Province of China, in which the traced silk rolls are dropped off a high cliff; \r 2) December 2010 at the Bishan Confucian Temple in Chongqing (Chongqing bi shan wenmiao 重庆璧山文庙);\r 3) March 2012 at the Venice Arsenale in occasion of the "6th Laguna Art Exhibition" (Di liu jie la gu na yishu da zhan 第六届拉古娜艺术大展); \r 4) June 2012 at the Taihang Mountains in Linzhou, Henan in occasion of the "Second Linzhou Ink and Wash Biennale" (Di er jie Linzhou shuimo shuang nian zhan 第二届林州水墨双年展)."""@en ; write:hasVisualArtworkType , ; write:hasUnit ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , , , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 , ; wdt:P9302 ; write:attributedTitle "CWU 1 Her Mountain (《兰亭序》)" ; write:description "This CWU is part of the installation \"Her Mountain (Ta shan 她山)\". It consists of Wu Xixia's rewriting of the \"Orchid Pavilion Preface\" (Lanting Xu 兰亭序) composed by Wang Xizhi 王羲之 (303–361) in 353. Wu Xixia writes characters with a brush dipped in black ink inside an inflatable hermetic sphere during the performance \"Writing the Orchid Pavilion Preface One Time (Shuxie Lanting Xu yi bian 书写兰亭序一遍)\". The different forms of the twenty zhi 之 characters present in the poem are replaced with visible red ink male phalluses."@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:relatedUnit , ; write:transcriptionAndTranslation """It is the ninth year of Emperor Mu of Jin's Yonghe era\r The year of the Yin Water Ox,\r At the beginning of the third lunar month,\r We are all gathered at the orchid pavilion in Shanyin County, Guiji Commandery,\r For the Spring Purification Festival.\r All of the prominent people have arrived,\r From old to young.\r This is an area of high mountains and lofty peaks,\r With an exuberant growth of trees and bamboos,\r It also has clear rushing water,\r Reflecting the sunlight as it flows past either side of the pavilion.\r The guests are seated side by side to play the drinking game where a wine cup is floated down the stream and the first person sitting in front of the cup when it stops must drink.\r Although we lack the boisterousness of a live orchestra,\r With a cup of wine here and a reciting of poetry there, it is sufficient to allow for a pleasant exchange of cordial conversations.\r Today, the sky is bright and the air is clear,\r With a gentle breeze that is blowing freely. When looking up, one can see the vastness of the heavens,\r And when looking down, one can observe the abundance of things. The contentment of allowing one’s eyes to wander,\r Is enough to reach the heights of delight for the sight and sound. What a joy.\r Now all people live in this world together,\r Some will take all of their aspirations, and share them in private with a friend;\r Still others will abandon themselves to reckless pursuits.\r Even though everyone makes different choices in life, some thoughtful and some rash,\r When a person meets with joy, he will temporarily be pleased,\r And will feel content, but he is not mindful that old age will soon overtake him.\r Wait until that person becomes weary, or has a change of heart about something,\r And will thus be filled with regrets.\r The happiness of the past, in the blink of an eye,\r Will have already become a distant memory, and this cannot but cause one to sigh;\r In any case, the length of a man’s life is determined by the Creator, and we will all turn to dust in the end.\r The ancients have said, "Birth and Death are both momentous occasions."\r Isn’t that sad!\r Every time I consider the reasons for why the people of old had regrets,\r I am always moved to sadness by their writings,\r And I can not explain why I am saddened.\r I most certainly know that it is false and absurd to treat life and death as one and the same,\r And it is equally absurd to think of dying at an old age as being the same as dying at a young age.\r When future generations look back to my time, it will probably be similar to how I now think of the past.\r What a shame! Therefore, when I list out the people that were here,\r And record their musings, even though times and circumstances will change,\r As for the things that we regret, they are the same.\r For the people who read this in future generations, perhaps you will likewise be moved by these words."""@en, """永和九年，\r 岁在癸丑，\r 暮春之初，\r 会于会稽山阴之兰亭，\r 修禊事也。\r 群贤毕至，\r 少长咸集。\r 此地有崇山峻领，\r 茂林修竹，\r 又有清流激湍，\r 映带左右。\r 引以为流觞曲水，列坐其次；\r 虽无丝竹管弦之盛，\r 一觞一咏，亦足以畅叙幽情。\r 是日也，天朗气清，\r 惠风和畅，仰观宇宙之大，\r 俯察品类之盛，所以游目骋怀，\r 足以极视听之娱，信可乐也。\r 夫人之相与俯仰一世，\r 或取诸怀抱，晤言一室之内；\r 或因寄所托，放浪形骸之外。\r 虽趣舍万殊，静躁不同，\r 当其欣于所遇，暂得于己，\r 快然自足，不知老之将至。\r 及其所之既倦，情随事迁，\r 感慨系之矣。\r 向之所欣，俛仰之间，\r 已为陈迹，犹不能不以之兴怀；\r 况修短随化，终期于尽。\r 古人云﹕「死生亦大矣。」\r 岂不痛哉！\r 每揽昔人兴感之由，\r 若合一契，未尝不临文嗟悼，\r 不能喻之于怀。\r 固知一死生为虚诞，\r 齐彭殇为妄作。\r 后之视今，亦由今之视昔。\r 悲夫！故列叙时人，\r 录其所述，虽世殊事异，\r 所以兴怀，其致一也。\r 后之揽者，亦将有感于斯文。"""@zh, """永和九年，\r 歲在癸丑，\r 暮春之初，\r 會于會稽山陰之蘭亭，\r 脩禊事也。\r 群賢畢至，\r 少長咸集。\r 此地有崇山峻領，\r 茂林修竹，\r 又有清流激湍，\r 映帶左右。\r 引以為流觴曲水，列坐其次；\r 雖無絲竹管弦之盛，\r 一觴一詠，亦足以暢敘幽情。\r 是日也，天朗氣清，\r 惠風和暢，仰觀宇宙之大，\r 俯察品類之盛，所以遊目騁懷，\r 足以極視聽之娛，信可樂也。\r 夫人之相與俯仰一世，\r 或取諸懷抱，晤言一室之內；\r 或因寄所托，放浪形骸之外。\r 雖趣舍萬殊，靜躁不同，\r 當其欣于所遇，暫得于己，\r 快然自足，不知老之將至。\r 及其所之既倦，情隨事遷，\r 感慨係之矣。\r 向之所欣，俛仰之間，\r 已為陳迹，猶不能不以之興懷；\r 况修短隨化，終期于盡。\r 古人云﹕「死生亦大矣。」\r 豈不痛哉！\r 每攬昔人興感之由，\r 若合一契，未嘗不臨文嗟悼，\r 不能喻之于懷。\r 固知一死生為虛誕，\r 齊彭殤為妄作。\r 後之視今，亦由今之視昔。\r 悲夫！故列敘時人，\r 錄其所述，雖世殊事異，\r 所以興懷，其致一也。\r 後之攬者，亦將有感於斯文。"""@zh, """Yǒnghé jiǔ nián,\r suì zài guǐ chǒu,\r mùchūn zhī chū, \r huì yú guì jīshān yīn zhī lántíng, \r xiū xì shì yě. \r Qún xián bì zhì, \r shǎo zhǎng xián jí. \r Cǐdì yǒu chóng shān jùn lǐng,\r mào línxiūzhú,\r yòu yǒu qīngliú jī tuān,\r yìng dài zuǒyòu. \r Yǐn yǐ wéi liúshāng qū shuǐ, liè zuò qícì; \r suī wú sīzhú guǎnxián zhī shèng,\r yī shāng yī yǒng, yì zúyǐ chàngxù yōuqíng. \r Shì rì yě, tiān lǎng qì qīng,\r huìfēng hé chàng, yǎng guān yǔzhòu zhī dà, \r fǔchá pǐnlèi zhī shèng, suǒyǐ yóu mù chěng huái,\r zúyǐ jí shìtīng zhī yú, xìn kělè yě. \r Fūrén zhī xiāng yǔ fǔyǎng yīshì, \r huò qǔ zhū huáibào, wù yán yī shì zhī nèi;\r huò yīn jì suǒ tuō, fànglàngxínghái zhī wài. \r Suī qù shě wàn shū, jìng zào bùtóng, \r dāng qí xīn yú suǒ yù, zàn dé yú jǐ, \r kuài rán zìzú, bùzhī lǎo zhī jiàng zhì. \r Jí qí suǒ zhī jì juàn, qíng suí shì qiān, \r gǎnkǎixìzhī yǐ. \r Xiàng zhī suǒ xīn, fǔ yǎng zhī jiān, \r yǐ wèi chénjì, yóu bùnéng bù yǐ zhī xìng huái; \r kuàng xiū duǎn suí huà, zhōng qī yú jìn. \r Gǔrén yún﹕`sǐshēng yì dà yǐ.'\r Qǐ bù tòng zāi! \r Měi lǎn xī rén xìng gǎn zhī yóu, \r ruò hé yī qì, wèicháng bù lín wén jiē dào, \r bùnéng yù zhī yú huái. \r Gù zhī yī sǐshēng wèi xū dàn,\r qí péng shāng wèi wàng zuò. \r Hòu zhī shì jīn, yì yóu jīn zhī shì xī.\r Bēi fū! Gù liè xù shí rén, \r lù qí suǒ shù, suī shì shū shì yì,\r suǒyǐ xìng huái, qí zhì yī yě. \r Hòu zhī lǎn zhě, yì jiāng yǒu gǎn yú sīwén."""@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , , , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU 2 Her Mountain ( 婊子、老处女、贤妻良母、绿茶婊)" ; write:description "This CWU is part of the installation \"Her Mountain (Ta shan 她山)\". It consists of the characters written by Wu Xixia inside an inflatable hermetic sphere during the performance \"I\" (Wo 我) that took place in 2020. In this performance, Wu Xixia carries out a reflection on women and herself, writing the labels of society’s goodwill and malice towards women in red paint, such as \"whore\" (biao zi 婊子) \"old maid\" (lao chunu 老处女), \"good wife and loving mother\" (xian qiliang mu 贤妻良母), \"green tea bitch (luchabiao 绿茶婊), \"teenage girl\" (yunu 玉女), \"white lotus\" (bailian hua 白莲花) etc. She answers questions such as: \"Who are women? And who am I? Is my gender determined by birth or is it given by society? There is a womb here, but where is the \"mother\"?\" Having been rejected by her family at the time of her birth as a female, she has been questioning her gender throughout her formative years, and the social labels she writes about are an attempt to reconcile herself with her gender identity."@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:relatedUnit , ; write:transcriptionAndTranslation """whore\r old maid\r good wife and loving mother\r green tea bitch\r teenage girl\r white lotus"""@en, """婊子\r 老处女\r 贤妻良母\r 绿茶婊\r 玉女\r 白莲花"""@zh, """biao zi \r lao chunu\r xian qiliang mu \r luchabiao\r yunu \r bailian hua"""@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU 3 Her Mountain (救救我、求求你、别杀我、别S我)" ; write:description "This CWU is part of the installation \"Her Mountain (Ta shan 她山)\". It consists of the characters written by Wu Xixia inside an inflatable hermetic sphere during the performance \"Darling\" in which Wu Xixia performs in front of a building called \"Darling\". The building was covered with red ribbons, which spread all the way to the inflatable ball. Wu Xixia writes sentences like: \"jiu jiu wo 救救我\" (help me); \"qiuqiu ni 求求你\" (I beg you), \"bie sha wo 别杀我\" (don't kill me); \"bie S wo 别S我\" (don't fuck me), etc. inside the hermetic sphere. The female body becomes an object of desire and \"objectification\" under the male gaze. Passers, by watching the performance, thus become part of the performance itself."@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:relatedUnit , ; write:transcriptionAndTranslation """help me\r I beg you\r don't kill me\r don't fuck me"""@en, """救救我\r 求求你\r 别杀我\r 别S我"""@zh, """jiu jiu wo \r qiuqiu ni \r bie sha wo\r bie S wo"""@zh-Latn . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Confrontation (对峙) - Artwork"@en, "对峙"@zh, "Duìzhì"@zh-Latn ; wdt:P170 ; wdt:P180 , , ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2023-01-07"^^xsd:date ; sch:thumbnailUrl ; write:derivesFrom ; write:description """This artwork is the result of the performance "Confrontation". It consists of the mannequin a red humanoid mannequin used by the artist Wu Xixia during the performance. The artist writes with a brush the white characters "human" (ren 人) and "art" (yishu 艺术) on the mannequin to give life to the inanimate object, announcing the beginning of the confrontation. To the sound of the drums, the artist "stabs" the mannequin with the brush, leaving traces of white and red ink on the object. Each time Wu Xixia hits the mannequin, laser beams are projected onto the artist's back, until both the mannequin and the artist's body are covered with marks. At that point, the cloth is replaced and the "fall" of both sides marks the end of the confrontation.\r The humanoid mannequin is an inanimate object created by industrial civilization and modern technology, while the living person represents humanity, identity, role, creation, etc. The dynamics of the act of "punching each other" through this game of parts represents the confrontation between living and non-living beings. Both sides are kneeling towards each other, in an equal position, just to represent that at the end there is no winner.\r As Wu Xixia helself explained: "The mannequin in "Confrontation" is made of plastic-plated stainless steel. I sawed off the legs of the ready-made vertical mannequin and turned it into a kneeling state. In fact, at first I thought about using a female body as a mannequin, but I think AI is a genderless non-creature, and I don't want to use looks to blur the concept. For me, the act of comparison is a kind of game. From the microscopic to the macroscopic point of view, the mannequin is a dead object, an inanimate body created by industrial civilization and modern technology, and the living person represents human beings, identities, roles, creations, etc. it is God. The behavior dynamic of "poking" with the tip of the pen represents the confrontation between the living body and the non-living body, and the "kneeling" pattern of both sides represents that there is no winner. Is the coexistence of dead and living things that give meaning to "human beings" controlled or lost in the development of science and technology? Is this exploration of materiality and non-materiality a superego or a complete me? The art itself explores the meaning of existence and the meaning of creation. At the end of the confrontation, 'I' poked 'it' with God's fingertips [...] I wrote the word 'person' on the body of the 'mannequin' on the front, and the word 'art' on the back , which is the product of the transfer from the imaginary world to the real world, even if it is always resisting expression and giving meaning. The appearance of the word "person" in the "mannequin" made of mirrored material is a sign of self-certification and self-affirmation. This is also my thought on the combination of Lacan's "symbolic world-imaginary world-real world" and the theory of the mirror [...]. Expression is also accompanied by "comparison" behavior. On the one hand I understand that art can be both refined and popular, and on the other hand I also understand that art needs unique expression, and this state often has binary oppositions. The backlash and tension between these dualities also drives us to become more well-rounded people"."""@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Lanting Xu Stones (兰亭序的石头)"@en, "兰亭序的石头"@zh, "Lántíng Xù de shítou"@zh-Latn ; wdt:P170 ; wdt:P180 , , , , , , ; wdt:P186 , ; wdt:P2048 "15 cm (each)" ; wdt:P2049 "10 cm (each)" ; wdt:P462 , ; wdt:P571 "2019-03-24"^^xsd:date ; wdt:P941 ; sch:thumbnailUrl ; write:description "These seventeen stones are used during the performance \"Luo Qi and Collegium Musicum Almae Matris - Musicalligraphy Performance (Luo Qi yu Boluoniya daxue yuedui - shufa yinyue biaoyan 洛齐与博洛尼亚大学乐队 - 书法音乐表演)\". These are Carrara marble stones on which Luo Qi wrote characters with black ink. On each stone Luo Qi writes two to six characters from the \"Orchid Pavilion Preface\" (Lanting Xu 兰亭序). "@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q464980 ; wdt:P10661 , ; wdt:P1476 "The Music of Ink - Calligraphies by Luo Qi and Silvio Ferragina in dialogue with the Chinese archive collection of the Braidense Library"@en, "La musica dell'inchiostro. Calligrafie di Luo Qi e Silvio Ferragina in dialogo con i fondi cinesi della Braidense"@it, "墨乐 :洛齐与塞尔维奥"@zh, "Mò yuè: Luò Qí yǔ Sàiěrwéiào"@zh-Latn ; wdt:P1640 ; wdt:P276 , ; wdt:P580 "2018-03-21"^^xsd:date ; wdt:P582 "2018-04-28"^^xsd:date ; wdt:P664 ; wdt:P856 ; write:description """The exhibition "The Music of Ink - Calligraphies by Luo Qi and Silvio Ferragina in dialogue with the Chinese archive collection of the Braidense Library" is a duo exhibition dedicated to the intimate connection between calligraphy and music. It was held from March 21 to April 28, 2018 from at the Braidense Library in Milan (Italy). Its protagonists are two eminent contemporary calligraphers, the Chinese master Luo Qi (Hangzhou, 1960) and the Italian master Silvio Ferragina (Mialn, 1962). Chinese Calligraphy is usually defined “silent but having musical harmony”. Inspired by this musical harmony, these two artists have transformed their calligraphies into astonishing ink scores by means of their rhythmic traces of brush. \r \r In this exhibition, Luo Qi and Silvio Ferragina present new series of calligraphic artworks in the form of long panels that cover the whole gallery of Sala Maria Teresa with an enveloping and captivating melody of signs. Luo Qi created a series entitled "The Music of Ink – Silent Melodies" (Mo yue - Wu sheng zhi ge 墨乐 - 无声之歌) . In this series, he translated some of the most famous Italian songs (e.g. “O sole mio” and “Volare”) and arias of operas (e.g. “Rigoletto” and “La traviata”) into concatenations of calligraphic signs inspired by one of the oldest Chinese musical notation system, the "Dunhuang musical notation system" (Dunhuang yuepu 敦煌乐谱). This system was in use before the 10th century and consists of simple characters, radicals or character components/parts. \r Silvio Ferragina created a series entitled "Ink – CHING: Musicalligraphy Divinations", inspired by the I-Ching (Yijing 易经), an ancient Chinese divination text and the oldest of the Chinese Classics. He translated eight of its hexagrams into musical notes in pentagrams. Using a sophisticated mathematical system designed by himself, he transformed the strokes of the characters of each hexagram into musical notations. Thus, he passed from hexagrams to characters and, finally, to real music. \r In their “calligraphic ink symphonies”, Luo Qi and Silvio Ferragina embody the harmonious encounter between East and West, dialoguing in a prestigious space, the National Braidense Library, that is "resonant with worldwide culture". \r \r A precious selection of documents and books from the Chinese archive collection of the Library were exhibited together with the calligraphy series. In the showcases, some important works that testify the interest for China starting with the Gesuits were shown. Among them, there was a rare example of the Planisphere developed by the Jesuit Giulio Aleni (1582-1649). This map was commissioned by the Emperor Wan Li and published in 1623, and it is one of the first maps of the Chinese Empire. Another important document stored in the Library is the imperial diploma of the Jesuit astronomer Johann Adam Schall von Bell (1591-1666) awarded by the Imperial court for the publication of his new calendar in 1630. Next to these two important documents, seventeenth-century grammars and manuals for teaching Chinese language to missionaries were exhibited. In addition to the Chinese manuscripts, were shown important works written by Giuseppe Hager (1757-1819), an Italian-German theologian and scholar of oriental languages who was appointed as librarian in the Braidense in 1806. These texts prove his strong interest in the Far East. Among them, the most precious are: "Memory on the Eastern Compass" (1809-1810), "Memory on the Arabic figures attributed to the Indians, but invented in a country [China] that is more remote than India" (1813) and "Chinese Inscriptions in Quàng-ceu, the city commonly called ‘Canton’ by the Europeans "(1816). The more recent collection of Edoarda Masi juxtaposed with these ancient archives. This collection was donated to Braidense Library in 2012 and it ihad never been shown before. Edoarda Masi (1927-2011) was one of the most important Italian sinologists of the XX century. Many significant texts from her collection werw selected for the exhibition, like for example the “Dream of the Red Chamber” (Honglou meng), one of China's Four Great Classical Novels that she translated in 1964, a copy of Mao's Little Red Book autographed by Lin Biao (1907-1971), essays, dictionaries and other important materials for her study and research. \r Some rare documents of the Ricordi Historical Archive housed in the Braidense Library were also part of the exhibition. From this noteworthy private music collection, a precious selection of documents relating to “Turandot” by Giacomo Puccini was displayed because of its setting in China. Among them, the visitors have admired Puccini’s autograph score, the original figurines designed by Umberto Brunelleschi as requested by Puccini, a copy of the limited edition printed score of the opera with a cover hand-painted by Leopoldo Metlicovitz, and the Turandot libretto and magazine published for the world premiere on 25 April 1926. All these documents prove the great work of research and reinterpretation of Chinese culture merged into the opera of the Tuscan Master. \r \r An animated work on paper by the young artist Guido Ballatori (Ascoli Piceno, 1983) was also part of the exhibition. \r \r The exhibition was curated by Adriana Iezzi, and it owes its origin to an idea of Silvio Ferragina. The selection of the Chinese documents and books was curated by Aldo Coletto e Marina Zetti of the Braidense Library. The production was by Tadaam in collaboration with the Braidense Library. \r \r The exhibition was enriched by collateral events, in particular "musicalligraphy performances" inspired by different Chinese calligraphic styles and musical genres held by Silvio Ferragina in collaboration with internationally renowned musicians, such as: Sainkho Namtchylak (March 28); Andrea Dulbecco and Luca Gusella (April 4); Ares Tavolazzi and Alessandro Cerrino (April 11); and Giulio Casale and Michele Rabbia (April 24). \r During the finissage the famous London-based Chinese artist Chloe NiLi (Shanghai, 1989) held a performance entitled “Calligraphy and Thousand Character Classic Thousand Character Classic” that consisted of the repetitive writing of another classic of Chinese calligraphic tradition, the “Thousand Character Classic” (Qianzi wen 千字文) , on a big white panel until its surface was completely blackened by the calligraphic strokes. """@en ; write:exhibitedArtwork . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Anatomy of Posidonia - Artwork"@en ; wdt:P170 ; wdt:P180 , , , , , ; wdt:P186 , , ; wdt:P2048 "2.75 m" ; wdt:P2049 "11 m" ; wdt:P462 , , ; wdt:P571 "2022-09-20"^^xsd:date ; write:derivesFrom ; write:description "This artwork is made during the performance \"Anatomy of Posidonia\" realized by Echo Morgan in occasion of the 3rd Edition of the \"Territori - Ibiza Performance Art Festival\" (17-25 September, 2022) which takes place in Ibiza, Spain. The artwork consists on a long scroll of paper eleven meters long. The artwork consists of traces and marks leaved by the artist's hair which are dipped in a compound made of chlorophyll powder mixed with seawater. With various body movements, accompanied by some verses and vocal sounds, the artist becomes a brush and leaves \"imprints\" and marks of her body's passage on the sheet."@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool , . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Woman 女+ Horse 马 = Mother 妈 - Artwork"@en ; wdt:P170 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P462 , , , ; wdt:P571 "2022-09"^^xsd:gYearMonth ; write:description "This artwork is created and used for the performance \"Woman 女+ Horse 马 = Mother 妈\", which took place in 2022 at the TJ Boulting of London during \"Love, Celebration and the Road Ahead\", a three-day festival (September, 29 - October, 1st ) to mark the launch of Hettie Judah's book entitled \"How Not To Exclude Artist Mothers (and other parents)\". The artwork consists of white lanterns with different size bound together and enveloping Echo Morgan's body. These lanterns are decorated with various writings, combining Chinese characters with the English language, such as: \"ziyou 自由\" (freedom); \"hai 海\" (sea); \"hao 好\" (good); \"popo 婆婆\" (grandmother); \"shengming 生命\" (life); \"tudi 土地\" (soil); \"tielian 铁链\" (iron chain); \"Can be a good mum and a good artist?\"; \"The Chinese word mum is combined woman 女 + horse 马\"; \"Flying dress\"; \"Mothers are the best in the world if you have one you are precious\"; \"Yellow face wife\", \"Sea Big Ocean like Mother Care\", \"Don’t get greedy. Only harvest for as long as you can hold your breath\", etc. "@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a wd:Q17514 ; wdt:P1476 "Shanghai be strong (上海坚强)"@en, "上海坚强"@zh, "Shànghǎi jiānqiáng"@zh-Latn ; wdt:P170 ; wdt:P180 , , , , ; wdt:P186 , , ; wdt:P2048 "2.5 m"@en ; wdt:P2049 "4.5 m"@en ; wdt:P276 , ; wdt:P462 , , , , ; wdt:P571 "2010-11"^^xsd:gYearMonth ; wdt:P6375 "Moganshan Road"@en, "莫干山路"@zh, "Mògànshān lù"@zh-Latn ; wdt:P941 , , ; write:description """This graffiti was painted on the Moganshan Road in memory of the victims of the fire that destroyed a building on the Jiaozhou Road (Shanghai) in 2010. So this a memorial artwork. \r The main theme of the piece consists of the words Shanghai 上海 and jianqiang 坚强 (fortify, be strong), which are represented through two different styles of charactering with the intention of emulating the brush stroke through different thicknesses. \r The first two characters "上海" (Shanghai) were painted by Huri in running script (xingshu 行书). The other two characters jianqiang "坚强" (fortify, be strong) were painted by Storm (French writer) in regular script (kaishu 楷书). Because of their uniform thickness, maybe painted using a pasting brush or a paint roller, the "jianqiang 坚强" characters might also call to mind the great seal script (dazhuanshu 大篆书). Both parts have a thin black outline that grants a tridimensional effect. This artwork is characterized by the presence of some Chinese traditional elements: an incense pot and four yellow chrysanthemums. The incense pot is a symbol of the funeral wake ritual, while the yellow chrysanthemum forms part of the "four nobles" (bamboo, orchid, plum tree and chrysanthemum), which, in traditional Chinese painting, represent the four seasons and the four ages of Man; among these, the chrysanthemum is the symbol of autumn. In the artwork there are also some Western visual elements: a scroll banner, a peace dove (painted in bubble style) and a black funeral ribbon. At the bottom, there are also eight tags: Huri (under the characters 上海), Storm (under the characters 坚强), Ting, Snow, Ake, Reign, Redim and OOPS (in the center).\r Among the numerous works of the OOPS crew, "Shanghai be strong (Shanghai jianqiang 上海坚强)" is one of the best examples of "contamination" between the Western graffiti art movement and the Chinese artistic and cultural tradition. """@en ; write:hasChengyu false ; write:hasChineseVisualElement , , ; write:hasColophon false ; write:hasGraffitiGenre , , ; write:hasGraffitiStyle , , , , ; write:hasGraffitiType , ; write:hasOtherVisualElement , , ; write:hasSeal false ; write:hasUnit , ; write:madeUsingTool , , . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU 1 \"Vagina Font\" Calligraphy (笔墨之道)" ; write:description "This CWU is part of the performance \"Vagina Font\" Calligraphy (\"bi - 体” 书法)\". Sun Ping assists his collaborator Luo Shan as she executes calligraphy using a brush dipped in black ink inserted inside her vagina. Her movements attempt to reproduce Chinese characters, resulting in four running script characters: \"The Way of Writing\" (bimo zhi dao 笔墨之道)"@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf , ; write:madeUsingTool , ; write:numberOfCharacters 4 ; write:relatedUnit ; write:transcriptionAndTranslation "The Way of Writing"@en, "笔墨之道"@zh, "筆墨之道"@zh, "Bǐmò zhī dào"@zh-Latn . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Dance Remains: Heart (舞迹 : 心)"@en, "舞迹 : 心"@zh, "Wǔ jì: xīn"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , ; wdt:P2048 "40 cm" ; wdt:P2049 "30 cm" ; wdt:P462 ; wdt:P571 "2018"^^xsd:gYear ; write:description "This photograph represents the character \"xin 心\" (heart) made in \"Nüshu 女书\". Artist Jessie Yingying Gong applied LED lights to the body of a dancer who freely performed dance moves. This photograph is part of the Dance Remains Series (舞迹系列) created by the artist Jessie Yingying Gong in 2018, during the six months of the artist residency at the \"Swatch Art Peace Hotel\" in Shanghai. “Dance Remains” is a series of long exposure photographs the artist made of public dancers (both men and women) in various parks around Shanghai in the evening, after asking them to attach LED lights on their bodies while dancing. The artist captured around 80 photographs and in eight of them, the result appears as if dancers are writing an abstract secret language with the movement of their bodies, resembling some characters written in Nüshu 女书, such as \"xin 心 (heart)\"; \"bei 背\" (sadness); \"shui 水\" (water) and \"xiao 小\" (small). This for the artist evokes the times when the female population gathered together to sing songs and do embroidery in the Nüshu village. By combining these photographs with the flowy Nüshu characters, she intends to form a poetic visual compilation of photography and writing."@en ; write:hasVisualArtworkType , ; write:hasUnit . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "New Semiotics : Happiness (新符号学 : 喜)"@en, "喜"@zh, "Xīn fúhào xué : xǐ"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , ; wdt:P186 ; wdt:P462 ; wdt:P571 "2017"^^xsd:gYear ; wdt:P856 ; write:description "This figure was designed by Jessie Yingying Gong represents the Chinese character \"xi 喜\" (happiness) written in oracle bone script and made with red color neon light. It is part of the \" New Semiotics Series (新符号学系列)\" starting in 2017 and ongoing, in which Jessie Yingying Gong compares two ancient styles of writing: \"Linear B\", that was a syllabic script used for writing in Mycenaean Greek, the earliest attested form of Greek and \"oracle bone script\", used anciently in China."@en ; write:hasVisualArtworkType , , ; write:hasUnit . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Enfolding - Safe (安)"@en, "安"@zh, "Ān"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , ; wdt:P186 ; wdt:P2048 "35 cm" ; wdt:P2049 "35 cm" ; wdt:P462 , , ; wdt:P571 "2019"^^xsd:gYear ; wdt:P856 ; write:description "This artwork is part of the \"Enfolding\" series made by Jessie Yingying Gong in 2019. It represents the Chinese character \"an 安\"(safe) written in regular script mixed with its Nushu script form. The character is designed on the computer first, by cutting each character (of the pair) into vertical strips, then stitching the strips one next to the other. By folding the sheet several times, an optical effect is obtained in which the two characters appear to join each other. This artwork is part of the \"Enfolding\" series made by Jessie Yingying Gong in 2019. "@en ; write:hasVisualArtworkType , ; write:hasUnit ; write:vectorisedOrDigitised true . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "A Love Poem Written in Water (写在水中的爱情诗)"@en, "写在水中的爱情诗"@zh, "Xiě zài shuǐzhōng de àiqíng shī"@zh-Latn ; wdt:P175 ; wdt:P180 , , , , ; wdt:P186 wd:Q207849, wd:Q283, wd:Q37681 ; wdt:P2047 "PT15M"^^xsd:duration ; wdt:P276 ; wdt:P585 "2010"^^xsd:gYear ; sch:thumbnailUrl , ; write:calligrapher ; write:description """Li Xinmo is dressed in white, and she is sitting in the water in a small pool. She starts writing a love poem entitled "Love Poem Written in Water" using a classical lyric form (ci 词) using vermilion ink on a silk cloth. Traces of the characters, written in traditional form, spread outward in the water. In the end, all that remained on the white silk cloth are stained spots which resembled tears. As the artists specified: "It's a poem that I created before the performance. It was a writing of my feelings about a love that I had experienced, an intimate inner experience. I put a long strip of white yarn in the water and then wrote the poem in vermillion ink, the writing dispersing as I wrote. The poem eventually dissolved in the water. The process of this performance is also an interpretation of love, that it is fickle, sad, uncertain, and impossible to keep. With this work I may be saying goodbye to the love I have experienced before, and to the person I once was".\r "Love" is a major theme in literature from the Romantic period, but here Li Xinmo uses contemporary art forms and a specifically Eastern wisdom in order to shed new light on this never-ending topic. The performance is about the feelings of contemporary people, but it has a distinctly Chinese Chan Buddhist feel to it. \r This performance largely recalls that of Zhu Qingsheng "Flute Melodies, Flowing Water, Writing Calligraphy (箫声 · 流 水 · 书写, 1997), where the protagonist of the performance is always the impermeability and evanescence given by the passing of time.\r """@en ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image , ; write:madeUsingTool wd:Q614467 . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Sculpture Writing - Woman (写经 -女) - Artwork"@en, "写经 - 女"@zh, "Xiě jīng - nǚ "@zh-Latn ; wdt:P170 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P2049 "30 m" ; wdt:P462 , , ; wdt:P571 "2018"^^xsd:gYear ; wdt:P941 ; sch:thumbnailUrl ; write:derivesFrom ; write:description "This artwork is produced during the performance \"Sculpure Writing\" in 2018 by Li Xinmo. It consists on the 30-meters long volume of the Fahua Sutra which was hanged in the museum space. Li Xinmo writes Scriptures as a replacement for woman, giving rise to a feminist perspective. In her opinion, Buddha is a symbol of the equality of all living beings, but also transcends gender. Reading and writing Buddhist sutras was her early lesson. The interpretation of the universe and everything in the sutras had an important influence on her thoughts. In her opinion, to become a Buddha is to transcend the existing social shaping, knowledge system and integrate with all things, thus connecting the energy field of the universe."@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "Landscape Painting Painted in Water (画在水中的山水)"@en, "画在水中的山水"@zh, "Huà zài shuǐzhōng de shānshuǐ"@zh-Latn ; wdt:P175 ; wdt:P180 , , , , ; wdt:P186 wd:Q127418, wd:Q37681 ; wdt:P2047 "PT15M"^^xsd:duration ; wdt:P276 ; wdt:P585 "2011"^^xsd:gYear ; wdt:P941 ; sch:thumbnailUrl , ; write:calligrapher ; write:description """In this performance, Li Xinmo sits quietly in a polluted pond, painting with red ink on a piece of white gauze floating on the surface. She writes few characters of natural mountains and rivers, and at the same time she painted these characters into the shape of a landscape, blurring them into a red colour in the water. The stark contrast of the red ink on green algae slowly dissipates into the pond’s water, rendering her painting illegible; the longer she goes on painting the harder her markings are to decipher, a slow, losing battle against the contaminated water’s relentlessness. This piece highlights how industrialisation and commercialisation of the natural environment is leading to its destruction, with the red ink like blood in the toxic water.\r As the artist points out: "Black is the most common type of ink colour. However, I chose to use red ink, mainly to reinforce a kind of colour contrast and conflict; the contrast is very strong when it was drawn and written in red on green water. Red also conveys a more dangerous, cruel and disturbing feeling [...]. Water has always been an important theme in my artworks. Probably because I have always painted traditional Chinese ink paintings and have often used water as a metaphor in the Chinese philosophy of Lao Zhuang, as well as in ancient poetry, where there are many descriptions of water. This is why I have a special feeling for mountains and water. Water pollution is also a constant concern for me. So water is my connection with nature and a substance for seeing nature and understanding the world"."""@en ; write:hasChineseVisualElement ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image , ; write:madeUsingTool wd:Q614467 . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Female Character Writing in a Patriarchal Society (父系社会的女字书写) - Artwork"@en, "父系社会的女字书写"@zh, "Fùxì shèhuì de nǚ zì shūxiě"@zh-Latn ; wdt:P170 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2012-03"^^xsd:gYearMonth ; wdt:P608 ; wdt:P941 ; write:derivesFrom ; write:description "This artwork was produced during the performance \"Female Character Writing in a Patriarchal Society (父系社会的女字书写)\" held by Li Xinmo in March 2012, during the \"Bald Girls Exhibition\" (tutou ge nu 秃頭戈女) at the Iberia Contemporary Art Space of Beijing. It consists of some big traditional characters of the famous Chinese dictionary named \"Shuowen Jiezi 说文解字\" realized by Xu Shen (c. 58 – c. 148 CE). These characters are accompained with their explanations written in smaller size. These big characters with female radical have all a negative meaning, for example: \"hai 妎\" (jealous/demanding); \"fu 妇\" (woman/wife); \"wang 妄\" (presumptuous/rash); \"lan 婪\" (be greedy); \"fang 妨\" (harm), \"hun 婚\" (married), \"yin 婬\" (lascivious/licentious); \"ning 佞\" (sycophant/toady); \"du 妒\" (jealous/envy); \"qu 娶\" (take a wife); \"wei 委\" (throw away/cast aside); \"zi 姊\" (older sister) etc. Characters are realized with white ink on a black wall in regular script. In addition, they are realized in non-simplified form and from top to bottom and from right to left, recalling ancient scriptures. In China female discrimination has a very ancient origin. It starts from writing and, consequently, from calligraphy, an artistic practice exclusive to male in China."@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Dance (舞)" ; write:description """This CWU is part of the Visual Artwork "Dance" (Wu 舞), realized by Wang Dongling in 1989. The character 'wu 舞', meaning 'dance', is written in a bold cursive script. The strokes of the character are inspired by Graham's physical posture in motion. Wang "dashed off rhythmic ink strokes directly onto the dancer's image that echoed her form and movement. This resonance of movement between world, mind and body, "what the Chinese call qiyun 气韵 (spirit resonance) is the central desiderata for brush and ink painting" (Ink Studio).\r The aesthetics principle of qiyun refers to the resonance of the breath in the calligraphic line and the inner vitality of the artist, which together give life and movement to the work."""@en ; write:directionality "Traditional" ; write:hasBackgroundColour , , ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 7 ; write:relatedUnit , ; write:transcriptionAndTranslation "Dance"@en, "舞"@zh, "wǔ"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; write:attributedTitle "CWU 3 Dance (I am a dancer)" ; write:description "This Calli-Writing Unit consists of an English article of the New York Times containing an interview with the famous American dancer and choreographer Martha Graham. It is part of the Visual Artwork \"Dance\" by Wang Dongling."@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:relatedUnit , ; write:transcriptionAndTranslation "I am a dancer" . a write:CalliWritingUnit ; wdt:P144 ; wdt:P1480 ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 Dance (《观公孙大娘弟子舞剑器行》)" ; write:description "In contrast to the central character Wu 舞 (CWU 1), written in bold and rhythmic ink strokes, the surrounding text (CWU 2) has been rendered in a lively cursive script using an orange-red (vermilion) ink. This chromatic value can be associated more with the palette of a painter than a calligrapher. "@en ; write:directionality "Traditional" ; write:hasBackgroundColour , , ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 150 ; write:relatedUnit , ; write:transcriptionAndTranslation """Long ago, Zhang Xu saw Aunt Gongsun dance.\r There was a beautiful woman of the Gongsun clan. When she performed her sword dance, she captivated the entire realm.\r Spectators crowded like mountains, their faces struck with awe; Heaven and earth seemed to rise and fall in response.\r Swift as Hou Yi shooting down the nine suns, graceful as imperial dragons soaring through the skies.\r She approached like thunder gathering its wrath, and departed like rivers and seas gathering calm light.\r Red lips and pearl sleeves now lie in solitude, yet her students later carried on her fragrance.\r […]\r \r """@en, """昔张旭见公孙大娘舞。\r 昔有佳人公孙氏，一舞剑器动四方。\r 观者如山色沮丧，天地为之久低昂。\r 㸌如羿射九日落，矫如群帝骖龙翔。\r 来如雷霆收震怒，罢如江海凝清光。\r 绛唇珠袖两寂寞，晚有弟子传芬芳。\r […]"""@zh, """昔張旭見公孫大娘舞。\r 昔有佳人公孫氏，一舞劍器動四方。\r 觀者如山色沮喪，天地為之久低昂。\r 㸌如羿射九日落，矯如群帝驂龍翔。\r 來如雷霆收震怒，罷如江海凝清光。\r 絳唇珠袖兩寂寞，晚有弟子傳芬芳。\r […]"""@zh, """Xī Zhāng Xù jiàn Gōngsūn Dàniáng wǔ。\r Xī yǒu jiārén Gōngsūn shì, yī wǔ jiànqì dòng sìfāng.\r Guān zhě rú shān sè jǔsàng, tiāndì wèi zhī jiǔ dī'áng.\r Chù rú Yì shè jiǔ rì luò, jiǎo rú qún dì cān lóng xiáng.\r Lái rú léitíng shōu zhènnù, bà rú jiānghǎi níng qīngguāng.\r Jiàng chún zhū xiù liǎng jìmò, wǎn yǒu dìzǐ chuán fēnfāng.\r […]"""@zh-Latn . a wd:Q7725634 ; wdt:P1476 "Dream of the Red Chamber (红楼梦)"@en, "红楼梦"@zh, "Honglou Meng"@zh-Latn ; wdt:P50 ; wdt:P571 "1791"^^xsd:gYear ; write:description "\"Dream of the Red Chamber\" (Honglou Meng 红楼梦) is a novel composed by Cao Xueqin 曹雪芹 (1710 - 1765) in the middle of the 18th century. One of the Four Great Classical Novels of Chinese literature, it is known for its psychological scope, and its observation of the worldview, aesthetics, life-styles, and social relations of 18th-century China. The intricate strands of its plot depict the rise and decline of a family much like Cao's own and, by extension, of the dynasty itself. Cao depicts the power of the father over the family, but the novel is intended to be a memorial to the women he knew in his youth: friends, relatives and servants. At a more profound level, the author explores religious and philosophical questions, and the writing style includes echoes of the plays and novels of the late Ming, as well as poetry from earlier periods."@en ; write:hasWikidataResource . a wd:Q1400264 ; wdt:P2561 "Cloud Gate Dance Theatre of Taiwan (云门舞集)" ; wdt:P276 ; wdt:P453 ; wdt:P527 ; wdt:P571 "1973"^^xsd:gYear ; wdt:P800 ; wdt:P856 ; write:description """Cloud Gate Dance Theatre is a modern dance group based in Taiwan. It was founded in 1973 by choreographer Lin Hwai-min 林懷民 (b.1947). Cloud Gate has performed in Europe, Asia, North America, and South America. The company also spends a lot of its time performing throughout Taiwan and is generally recognised as the country's premier dance organization. In recognition of its importance locally and internationally, on August 21, 2003, Taiwan's government proclaimed the "Cloud Gate Day" and named the street on which the company's office lies "Cloud Gate Lane." This was the first time in Taiwan's history a day and place were named after a living artist or active artistic organization. Its twenty-two dancers receive trainings of meditation, Qi Gong, an ancient form of breathing exercise, internal martial arts, modern dance, ballet and calligraphy. The current director of the company is Cheng Tsung-Lung 鄭宗龍. The twenty-two dancers are: The twenty-two dancers are: CHOU Chang-ning周章佞, HUANG Pei-hua 黄珮華, LEE Ching-chun 李靜君, TSAI Ming-yuan 蔡銘元, CHIU I-wen 邱怡文, LIN Chia-liang 林佳良, SU I-ping 蘇依屏, SUNG Chao-chiun 宋超群, WANG Chibh-hao 汪志浩, WEN Ching-ching 溫璟靜, YANG I-chun 楊儀君, CHOU Wei-ping 周偉萍, KO Wan-chun 柯宛均, LIN Tzu-chun 林姿君, LIU Hui-ling 劉惠玲, SHEN Yi-wen 沈怡效, WONG Lap-cheong 王立翔, YU Chien-hung 余建宏, HOU Tang-li 侯當立, HUANG Mei-ya 黃媺雅, LIN Hsin-fang 林心放and LEE Tzu-chun 李姿君.\r """@en ; write:hasArtisticCollectiveType ; write:hasWikidataResource . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Hard Stone (磐)"@en, "磐"@zh, "Pán"@zh-Latn ; wdt:P170 ; wdt:P180 , , ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2001"^^xsd:gYear ; write:description "This work was made by Tong Yang-tze and used in the ballet performance \"Cursive I\". The work is brought down from above onto a panel and placed in the center of the stage. The dancer Chou Chang-ning dances in front of the work realized on a panel positioned in the middle of the stage. Her long black sleeves follow the movement of the blank ink in the air, while the body of the dancer emulates the lines of the character itself."@en ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Desire for Procreation and Life (渴望生命) - Artwork"@en, "渴望生命"@zh, " Kěwàng shēngmìng"@zh-Latn ; wdt:P170 ; wdt:P180 , , , , ; wdt:P186 , , ; wdt:P462 , ; wdt:P571 "2010-08-14"^^xsd:date ; write:derivesFrom ; write:description "This artwork is produced during the performance \"Desire for Procreation and Life (渴望生命)\" held on August 14, 2010 at the Tap Seac Museum of Art in Macao. Accompanied by a female musician playing the cello, Pu Lieping reflects on the life drive of man and even more of woman, and introduces the element of dance, through a pregnant dancer who accompanies the notes of a cello played by a female musician. The artist writes the four characters \"Shengming zhi yun 生命之韵\" (Rhythm of Life) both on paper and also on the pregnant dancer's white clothes. Through this performance, Pu Lieping tries to interpret Chinese character art through the senses of sight, hearing, and body language."@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Preparatory Draft for Music and Calligraphy (音乐与书写)"@en, "音乐与书写"@zh, "Yīnyuè yǔ shūxiě"@zh-Latn ; wdt:P170 ; wdt:P180 ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2008-01-12"^^xsd:date ; write:description "On January 12, 2008 Pu Lieping, the day before the \"Music and Calligraphy\" performance, inspired by the music composed by the three students of the Gulf Coast University in Florida, made a preparatory draft on a wrapping paper from the Polo Ralph Lauren brand. The characters, which are broken down and created with a pen, are inspired by the inscriptions on oracle bones. These characters are: shui 水 (water) zhi 止 (to/only) mu 木 (wood) 目 (eye). Animal figures can also be glimpsed in the work, such as deer heads. The lines that make up the draft can be both vertical and horizontal, as if to reproduce the movements of the elements of nature."@en ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a wd:Q7725634 ; wdt:P1476 "Mit diesen Händen"@de, "With these hands"@en, "用这双手"@zh ; wdt:P50 ; wdt:P571 "1947"^^xsd:gYear ; write:description "The poem \"Mit diesen Händen\" was created by the German writer Heinrich Böll (1917-1985) in 1947. The poem explores the duality of human actions through the imagery of hands, which perform both nurturing and destructive acts. It contrasts tender moments, such as drawing the sign of the cross on a child's forehead, with violent actions that lead to death and suffering. "@en ; write:transcriptionAndTranslation """"Mit diesen Händen, die abends das Kreuzzeichen auf die Stirn deines Kindes zeichnen, hast du den Abzug des Maschinengewehrs um jene entscheidenden Millionstel Millimeter verrückt, sodaß er die Stirne anderer und Unschuldiger zerschmettere. Mit diesen Händen hast du die Kippen der Neger aufgelesen, hast du viele, viele Brote zerschnitten und gegessen und viele viele tausend Male den Suppenlöffel zum Munde geführt...\r \r Mit diesen Händen hast du die schmierigen Gläser in rumänischen Kneipen und die sauberen Gläser in flämischen Kneipen zum Munde geführt, mit diesen Händen hast du manchen Aperitif in dich hineingeschüttet und manche Flasche Wein an den Hals gehalten...\r \r Mit diesen Händen hast du die Schuhe von einer schwarzen Russenleiche gezogen, da deine zerfetzt waren, mit diesen Händen hast du in den Taschen der Toten nach Machorka gesucht, da der Hunger dir den Bauch auftrieb...\r \r Mit diesen Händen hast du den Stacheldraht angefaßt, dich schmerzhaft ins Fleisch schneidend, hast dir die Finger blutig gerissen, weil dein ganzer Körper vor Hunger schrie, wenn drüben die Eiersuppe mit Benzin übergossen und vernichtet wurde.\r Mit diesen Händen hast du manches tiefe Loch in die dunkle russische Erde gegraben, hast du in tiefster Dunkelheit gierig und hastig das Kochgeschirr mit Suppe oder Kaffee zum Mund geführt, mit diesen Händen hast du den Leutnant ins Gesicht geschlagen, eine Minute bevor er fiel...\r \r Diese Hände haben geschachert, du hast den Stoff der Hose oder des Mantels, die du verscheuern wolltest, damit prüfend und preisend berührt und hast die Geldscheine mit diesen Händen in Empfang genommen...\r Viel, viel Geld ist durch diese Hände gegangen, Geld für die Straßenbahn und für Tabak und Schnaps. Du hast mit diesen Händen Geld zum Schwarzmarkt gebracht, alles mit diesen Händen.\r \r Mit diesen Händen hast du nicht den, sondern die Faust in der Tasche gehalten, mit diesen Händen hast du die Portieren zu vornehmen Hotels und zu düsteren Kneipen geöffnet, du hast diese Hände im Atlantik gewaschen und in den Fluten der Schwarzmeeres. Viele haben diese Hände empfangen und wenig gegeben.\r \r Du hast die Erde zerbröckelt damit und hast dir ein Stück deines Hemdes damit abgerissen, weil die Hose voll war. Du hast Urlaubsscheine damit gefälscht und hast falsche Namen damit geschrieben, um Butterbrote oder Zigaretten auf trostlosen Bahnhöfen zu erschleichen. Diese Hände haben unzählige Zigaretten gedreht aus russischem Tabak, deutschem Tabak, aus Kippen und aus feinstem amerikanischen Tabak. Diese Hände hast du millionenmal gewaschen und immer wieder waren sie sauber, rein und unschuldig und kein Mensch hat sich gefürchtet, sie anzufassen, obwohl du tödliche Granaten damit in den Trichter des Werfers gesteckt hast.\r \r Du hast damit Papierkügelchen zum Pult des Lehrers geschossen, hast sie an dem ewig lädierten Füllfederhalter beschmutzt und zu einer Zeit, die du nicht mehr kennst, hast du die Brüste deiner Mutter damit berührt, du hast die Schulmappe damit umklammert, von vielerlei Blut waren sie befleckt, schwarz von geronnenem Blut, das die Poren verstopfte, Blut von ihm, oder Blut von dir, sie waren wie Metzgerhände, diese Hände, die dein Kind abends im Spiel mit seinem unschuldigen Mund berührt, wenn du das Zeichen des Kreuzes auf seine Stirn zeichnest."\r \r """@de, """"With these hands that draw the sign of the cross on your child's forehead in the evening, you have shifted the machine gun trigger by those crucial millionths of a millimeter so that it shattered the foreheads of others and innocent people. With those hands you picked up the butts of negroes, you did you cut up and ate many, many loaves of bread and put the soup spoon to your mouth many many thousands of times...\r \r With these hands you brought the greasy glasses to your mouth in Romanian pubs and the clean glasses in Flemish pubs, with these hands you poured many an aperitif and held many a bottle of wine to your neck...\r \r With these hands you pulled the shoes off a black Russian corpse because yours were in tatters, with these hands you searched for Makhorka in the pockets of the dead because hunger was bloating your stomach...\r \r You grabbed the barbed wire with those hands, cutting your flesh painfully, tearing your fingers bloody because your whole body screamed with hunger when the egg soup over there was doused with petrol and destroyed.\r \r With these hands you dug many a deep hole in the dark Russian earth, in the depths of darkness you greedily and hastily brought the cookware with soup or coffee to your mouth, with those hands you slapped the lieutenant in the face a minute before he fell. ..\r \r These hands haggled, you touched the fabric of the trousers or coat that you wanted to discard, examining and praising it, and you received the banknotes with these hands...\r Lots and lots of money passed through these hands, money for the streetcar and for tobacco and liquor. You brought money to the black market with those hands, all with those hands.\r \r With these hands you held not that but your fist in your pocket, with these hands you opened the doors to elegant hotels and gloomy pubs, you washed these hands in the Atlantic and in the waters of the Black Sea. Many have received these hands and given little.\r \r You crumbled the earth with it and ripped off a piece of your shirt with it because your pants were full. You used it to forge holiday vouchers and use them to write false names in order to swindle sandwiches or cigarettes from desolate train stations. These hands rolled countless cigarettes from Russian tobacco, German tobacco, butts and the finest American tobacco. You have washed these hands a million times and again and again they were clean, pure and innocent and no one was afraid to touch them, even though you used them to put deadly grenades into the launcher's funnel.\r \r You shot little balls of paper with it to the teacher's desk, you soiled them on the eternally damaged fountain pen and at a time that you no longer remember you touched your mother's breasts with it, you clutched your school satchel with it, they were of all kinds of blood stained black with clotted blood clogging the pores, blood from him, or blood from you, they were like butcher's hands, those hands that your child touches with his innocent mouth at play at night when you make the sign of the cross on his forehead draw.\""""@en . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 Luo Qi and Collegium Musicum Almae Matris - Musicalligraphy Performance (《兰亭序》)" ; write:description "This CWU is part of the \"Luo Qi and Collegium Musicum Almae Matris - Musicalligraphy Performance\" (洛齐与母校音乐学院). Luo Qi writes in running script the \"Orchid Pavilion Preface\" (Lanting Xu 兰亭序) composed by Wang Xizhi 王羲之 (303–361) in 353."@en ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 324 ; write:relatedUnit ; write:transcriptionAndTranslation """In the ninth year of Yonghe, at the beginning of the late spring,\r we have gathered at the Orchid Pavilion in the North of Kuaiji Mountain for the purification ritual.\r All the literati, the young and the old, have congregated.\r There are high mountains and steep hills, dense wood and slender bamboos,\r as well as a limpid flowing stream reflecting the surrounding.\r We sit by a redirected stream with floating wine goblets.\r Although short of the company of music,\r the wine and poems are sufficient for us to exchange our feelings.\r As for this day, the sky is clear and the air is fresh; the mild breeze greets us. \r I look up at the immense universe. I look down at myriad works [of poetry].\r As our eyes wander, so do our minds too. Indeed, it is a pure delight for all our senses."""@en, """永和九年，\r 岁在癸丑，\r 暮春之初，\r 会于会稽山阴之兰亭，\r 修禊事也。\r 群贤毕至，\r 少长咸集。\r 此地有崇山峻领，\r 茂林修竹，\r 又有清流激湍，\r 映带左右。\r 引以为流觞曲水，列坐其次；\r 虽无丝竹管弦之盛，\r 一觞一咏，亦足以畅叙幽情。\r 是日也，天朗气清，\r 惠风和畅，仰观宇宙之大，\r 俯察品类之盛，所以游目骋怀，\r 足以极视听之娱，信可乐也。\r 夫人之相与俯仰一世，\r 或取诸怀抱，晤言一室之内；\r 或因寄所托，放浪形骸之外。\r 虽趣舍万殊，静躁不同，\r 当其欣于所遇，暂得于己，\r 快然自足，不知老之将至。\r 及其所之既倦，情随事迁，\r 感慨系之矣。\r 向之所欣，俛仰之间，\r 已为陈迹，犹不能不以之兴怀；\r 况修短随化，终期于尽。\r 古人云﹕「死生亦大矣。」\r 岂不痛哉！\r 每揽昔人兴感之由，\r 若合一契，未尝不临文嗟悼，\r 不能喻之于怀。\r 固知一死生为虚诞，\r 齐彭殇为妄作。\r 后之视今，亦由今之视昔。\r 悲夫！故列叙时人，\r 录其所述，虽世殊事异，\r 所以兴怀，其致一也。\r 后之揽者，亦将有感于斯文。"""@zh, """永和九年，\r 歲在癸丑，\r 暮春之初， \r 會于會稽山陰之蘭亭， \r 脩禊事也。 \r 群賢畢至， \r 少長咸集。 \r 此地有崇山峻領，\r 茂林修竹，\r 又有清流激湍，\r 映帶左右。 \r 引以為流觴曲水，列坐其次； \r 雖無絲竹管弦之盛，\r 一觴一詠，亦足以暢敘幽情。 \r 是日也，天朗氣清，\r 惠風和暢，仰觀宇宙之大， \r 俯察品類之盛，所以遊目騁懷，\r 足以極視聽之娛，信可樂也。 \r 夫人之相與俯仰一世， \r 或取諸懷抱，晤言一室之內；\r 或因寄所托，放浪形骸之外。 \r 雖趣舍萬殊，靜躁不同， \r 當其欣于所遇，暫得于己， \r 快然自足，不知老之將至。 \r 及其所之既倦，情隨事遷， \r 感慨係之矣。 \r 向之所欣，俛仰之間， \r 已為陳迹，猶不能不以之興懷； \r 况修短隨化，終期于盡。 \r 古人云﹕「死生亦大矣。」\r 豈不痛哉！ \r 每攬昔人興感之由， \r 若合一契，未嘗不臨文嗟悼， \r 不能喻之于懷。 \r 固知一死生為虛誕，\r 齊彭殤為妄作。 \r 後之視今，亦由今之視昔。\r 悲夫！故列敘時人， \r 錄其所述，雖世殊事異，\r 所以興懷，其致一也。 \r 後之攬者，亦將有感於斯文。"""@zh, """Yǒnghé jiǔ nián,\r suì zài guǐ chǒu,\r mùchūn zhī chū, \r huì yú guì jīshān yīn zhī lántíng, \r xiū xì shì yě. \r Qún xián bì zhì, \r shǎo zhǎng xián jí. \r Cǐdì yǒu chóng shān jùn lǐng,\r mào línxiūzhú,\r yòu yǒu qīngliú jī tuān,\r yìng dài zuǒyòu. \r Yǐn yǐ wéi liúshāng qū shuǐ, liè zuò qícì; \r suī wú sīzhú guǎnxián zhī shèng,\r yī shāng yī yǒng, yì zúyǐ chàngxù yōuqíng. \r Shì rì yě, tiān lǎng qì qīng,\r huìfēng hé chàng, yǎng guān yǔzhòu zhī dà, \r fǔchá pǐnlèi zhī shèng, suǒyǐ yóu mù chěng huái,\r zúyǐ jí shìtīng zhī yú, xìn kělè yě. \r Fūrén zhī xiāng yǔ fǔyǎng yīshì, \r huò qǔ zhū huáibào, wù yán yī shì zhī nèi;\r huò yīn jì suǒ tuō, fànglàngxínghái zhī wài. \r Suī qù shě wàn shū, jìng zào bùtóng, \r dāng qí xīn yú suǒ yù, zàn dé yú jǐ, \r kuài rán zìzú, bùzhī lǎo zhī jiàng zhì. \r Jí qí suǒ zhī jì juàn, qíng suí shì qiān, \r gǎnkǎixìzhī yǐ. \r Xiàng zhī suǒ xīn, fǔ yǎng zhī jiān, \r yǐ wèi chénjì, yóu bùnéng bù yǐ zhī xìng huái; \r kuàng xiū duǎn suí huà, zhōng qī yú jìn. \r Gǔrén yún﹕`sǐshēng yì dà yǐ.'\r Qǐ bù tòng zāi! \r Měi lǎn xī rén xìng gǎn zhī yóu, \r ruò hé yī qì, wèicháng bù lín wén jiē dào, \r bùnéng yù zhī yú huái. \r Gù zhī yī sǐshēng wèi xū dàn,\r qí péng shāng wèi wàng zuò. \r Hòu zhī shì jīn, yì yóu jīn zhī shì xī.\r Bēi fū! Gù liè xù shí rén, \r lù qí suǒ shù, suī shì shū shì yì,\r suǒyǐ xìng huái, qí zhì yī yě. \r Hòu zhī lǎn zhě, yì jiāng yǒu gǎn yú sīwén."""@zh-Latn ; write:vectorisedOrDigitised false . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Brush Array (笔阵图)"@en, "笔阵图"@zh, "Bǐ zhèn tú"@zh-Latn ; wdt:P170 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P2048 "124 cm (each)" ; wdt:P2049 "248 cm (each)" ; wdt:P462 , ; wdt:P571 "2007"^^xsd:gYear ; wdt:P608 ; wdt:P941 ; sch:thumbnailUrl ; write:description """Brush Array is an ink artwork consisting of four sheets measuring 248 x 124 cm (each). Each sheet is composed of lines of black ink and water. \r The title of this artwork (Brush Array) refers to the famous treatise on calligraphy "Diagram of the Battle Formation of the Brush" (Bi zhen tu 笔阵图) written by Wei Shuo 卫铄 (Madame Wei) during the Eastern Jin Dynasty (317–420). Her treatise discusses the methods and techniques for holding and using the brush and outlines seven basic strategies for writing characters with strokes.\r Wang Dongling's Brush Array is inextricably linked to the different visual effects shaped by the brush and ink. Evolving from the artist’s earlier explorations of traditional calligraphic styles, Wang developed several artworks focused on modern artistic concepts, eliminating references to any recognizable character form, the artist use abstract lines with great dynamic tension to emphasise the pure expression of subjective images and emotions.\r Wang Dongling explores the expressive potential of the brush and the ink on the paper in several series of different abstract artworks, such as Untitled, 1999; Dark (Heaven) and Yellow (Earth), 2005; Being Open and Empty, 2005; Ink Meditation 2005. These works embody the spirit of traditional Chinese calligraphy and its essence, manifested through the abstract and expressive potential of the brush. Explicitly referencing the treatise "Diagram of the Battle Formation of the Brush", Wang's work reinterprets this legacy from a modern perspective. Large areas of the composition are saturated with several bold, rich black ink brushstrokes that are allowed to seep outward, creating uneven, dilated edges. """@en ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 , ; wdt:P1476 "The Heart Sutra in Chaos Script at the Brooklyn Museum (乱书《心经》现场书写纽约布鲁克林博物馆) - Artwork"@en, "乱书《心经》现场书写纽约布鲁克林博物馆"@zh, "Luàn shū “Xīnjīng” xiànchǎng shūxiě Niǔyuē Bùlǔkèlín bówùguǎn"@zh-Latn ; wdt:P170 ; wdt:P180 , , ; wdt:P186 , ; wdt:P2048 "3.7 m" ; wdt:P2049 "4.4 m" ; wdt:P462 , ; wdt:P571 "2015-11-07"^^xsd:date ; wdt:P608 ; wdt:P941 ; sch:thumbnailUrl ; write:derivesFrom ; write:description "This artwork was created during the performance \"The Heart Sutra in Chaos Script at the Brooklyn Museum (乱书《心经》现场书写纽约布鲁克林博物馆)\" realized by Wang Dongling on November 7, 2015. Wang Dongling creates the 268 charactes of the Heart Sutra (Xingjing 心经) , a concise and elegant articulation of the core tenets of Mahayana Buddhism using his Chaos Script (luan shu 乱书), making the characters mostly unrecognizable."@en ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Corporeal Calligraphy Series (书体)"@en, "书体"@zh, "Shū tǐ"@zh-Latn ; wdt:P170 ; wdt:P580 "2012"^^xsd:gYear ; sch:thumbnailUrl ; write:description """The Corporeal Calligraphy series (Shuti 书体) is composed of eight calligraphies on magazine sheets of paper measuring 25 x 20 cm. The sheets feature photographs of female models, over which Wang Dongling composes calligraphy in cursive writing, in his personal \r style. These artworks, presented for the first time during the exhibition "Decanter Ink, Hangzhou Cross Year 2011-2012, Wang Dongling Solo Exhibition", represent a clear example of the modernists' approach to calligraphic material."""@en ; sch:image ; write:includesArtwork . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Family Tree (家谱) - Photographs"@en, "家谱"@zh, "Jiāpǔ"@zh-Latn ; wdt:P170 ; wdt:P180 , , , , , , , , ; wdt:P2048 "41.9 cm (each)" ; wdt:P2049 "53.3 cm (each)" ; wdt:P462 , ; wdt:P571 "2000"^^xsd:gYear ; wdt:P608 ; write:derivesFrom ; write:description "The artwork is composed of nine chromogenic prints that are nine sequential pictures of the performance entitled \"Family Tree\" held in 2000 in New York. These prints record the gradual obscuring of Zhang’s face with inked words until it is completely blackened."@en ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal false ; write:hasUnit . rdfs:label "The TENG Company - Official Website" . rdfs:label "Universe" . rdfs:label "avant-garde" . rdfs:label "female body" . rdfs:label "Northeast China" ; wdt:P625 "Point(124.8 49)"^^geosparql:wktLiteral . rdfs:label "ritual purification" . rdfs:label "longevity" . rdfs:label "luxury" . rdfs:label "culture" . rdfs:label "Sanskrit" . rdfs:label "Chinese script style" . rdfs:label "failure" . rdfs:label "everyday life" . rdfs:label "energy" . rdfs:label "rest in peace" . rdfs:label "copying" . rdfs:label "photography" . rdfs:label "Mahayana sutra" . rdfs:label "Mona Lisa" . rdfs:label "climate change" . rdfs:label "humanity" . rdfs:label "connection" . rdfs:label "Seven Sages of the Bamboo Grove" . rdfs:label "Chinese calendar" . rdfs:label "harmony" . rdfs:label "Four Books and Five Classics" . rdfs:label "latex paint" . rdfs:label "Violet" . rdfs:label "acrylic glass" . rdfs:label "pregnancy" . rdfs:label "lithograph print" . rdfs:label "homage" . rdfs:label "visual perception" . rdfs:label "challenge" . rdfs:label "industrial building" . rdfs:label "dualism" . rdfs:label "Chinese character stroke" . rdfs:label "Jiangsu" ; wdt:P625 "Point(120 33)"^^geosparql:wktLiteral . rdfs:label "Xiangnan Tuhua" . rdfs:label "body" . rdfs:label "Vienna" ; wdt:P625 "Point(16.3725 48.208333333333336)"^^geosparql:wktLiteral . rdfs:label "oil painting" . rdfs:label "prosperity" . rdfs:label "battle" . rdfs:label "Arabic script" . rdfs:label "chalk" . rdfs:label "separation" . rdfs:label "contemporary dance" . rdfs:label "signature" . rdfs:label "melancholia" . rdfs:label "Sichuan" ; wdt:P625 "Point(103 30)"^^geosparql:wktLiteral . rdfs:label "Florence" ; wdt:P625 "Point(11.254166666667 43.771388888889)"^^geosparql:wktLiteral . rdfs:label "blossom" . rdfs:label "symposium" . rdfs:label "rest" . rdfs:label "cultural heritage" . rdfs:label "determination" . rdfs:label "vitreous enamel" . rdfs:label "destiny" . rdfs:label "museum director" . rdfs:label "environment" . rdfs:label "China Calligraphers Association" . rdfs:label "taupe" . rdfs:label "flame" . rdfs:label "50 Moganshan Road" ; wdt:P625 "Point(121.443469 31.250491)"^^geosparql:wktLiteral . rdfs:label "City of Brussels" ; wdt:P625 "Point(4.351666666666667 50.846666666666664)"^^geosparql:wktLiteral . rdfs:label "interactive art" . rdfs:label "Vancouver" ; wdt:P625 "Point(-123.1138888888889 49.26083333333333)"^^geosparql:wktLiteral . rdfs:label "choreographer" . rdfs:label "oppression" . rdfs:label "augmented reality" . rdfs:label "provocation" . rdfs:label "inner peace" . rdfs:label "football" . rdfs:label "cyclic process" . rdfs:label "printmaking" . rdfs:label "Yan'an Forum" . rdfs:label "leather" . rdfs:label "fashion design" . rdfs:label "United States", "United States of America" ; wdt:P625 "Point(-98.5795 39.828175)"^^geosparql:wktLiteral . rdfs:label "celebration" . rdfs:label "Zhengzhou" ; wdt:P625 "Point(113.66051 34.74919)"^^geosparql:wktLiteral . rdfs:label "Huaisu" . rdfs:label "land art" . rdfs:label "photographer" . rdfs:label "abstract painting" . rdfs:label "Ouyang Xiu" . rdfs:label "juxtaposition" . rdfs:label "crew" . rdfs:label "Brisbane" ; wdt:P625 "Point(153.02777777778 -27.467777777778)"^^geosparql:wktLiteral . rdfs:label "temporality" . rdfs:label "pixel" . rdfs:label "boat" . rdfs:label "dream" . rdfs:label "renminbi" . rdfs:label "Australia" ; wdt:P625 "Point(133 -25)"^^geosparql:wktLiteral . rdfs:label "Chinese ritual bronzes" . rdfs:label "subject and object" . rdfs:label "Heinrich Böll" . rdfs:label "Shandong" ; wdt:P625 "Point(118.4 36.4)"^^geosparql:wktLiteral . rdfs:label "mind" . rdfs:label "peace" . rdfs:label "arrow" . rdfs:label "environmental art" . rdfs:label "Ambush from Ten Sides" . rdfs:label "gender" . rdfs:label "pianist" . rdfs:label "Martha Graham" . rdfs:label "friendship" . rdfs:label "memorial" . rdfs:label "art history" . rdfs:label "Fort Myers" ; wdt:P625 "Point(-81.833333333333 26.616666666667)"^^geosparql:wktLiteral . rdfs:label "China Federation of Literary and Art Circles" . rdfs:label "Red Bull" . rdfs:label "Ibiza" ; wdt:P625 "Point(1.43 38.98)"^^geosparql:wktLiteral . rdfs:label "basketball" . rdfs:label "Olympic Games" . rdfs:label "Heavenly Questions" . rdfs:label "Zhenjiang" ; wdt:P625 "Point(119.45508 32.21086)"^^geosparql:wktLiteral . rdfs:label "Huizhou" ; wdt:P625 "Point(114.41523 23.11147)"^^geosparql:wktLiteral . rdfs:label "social interaction" . rdfs:label "Washington, D.C." ; wdt:P625 "Point(-77.036666666667 38.895)"^^geosparql:wktLiteral . rdfs:label "CAA Art Museum" ; wdt:P625 "Point(120.15474 30.24451)"^^geosparql:wktLiteral . rdfs:label "iron" . rdfs:label "objectification" . rdfs:label "Four Gentlemen" . rdfs:label "guzheng" . rdfs:label "Amsterdam" ; wdt:P625 "Point(4.883333333333333 52.36666666666667)"^^geosparql:wktLiteral . rdfs:label "eye" . rdfs:label "orange-red" . rdfs:label "mother" . rdfs:label "equality" . rdfs:label "rain" . rdfs:label "cloud" . rdfs:label "environmental movement" . rdfs:label "popular art" . rdfs:label "violin" . rdfs:label " Reflection of the Moon on Erquan Spring", "Reflection of the Moon on Erquan Spring" . rdfs:label "education" . rdfs:label "Taiwan" ; wdt:P625 "Point(121 24)"^^geosparql:wktLiteral . rdfs:label "Posidonia" . rdfs:label "Tang dynasty" . rdfs:label "China Academy of Art" . rdfs:label "Contemporary music" . rdfs:label "bronze script" . rdfs:label "decorative cloud motif" . rdfs:label "high-tech style" . rdfs:label "institution commissioned art" . rdfs:label "mural" . rdfs:label "talismanic script" . rdfs:label "tao" . rdfs:label "throw-up" . rdfs:label "wild cursive script" . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Li Bai’s 'Drink Alone Under the Moon'; 'Raise a Wine Glass to Ask the Sky' (李白《月下独酌》;《 把酒问天》)"@en, "李白《月下独酌》;《把酒问天》"@zh, "Lǐ Bái 'Yuè xià dúzhuó'; 'Bǎ jiǔ wèn tiān'"@zh-Latn ; wdt:P170 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P2048 "170 cm" ; wdt:P2049 "360 cm" ; wdt:P462 , ; wdt:P571 "2019"^^xsd:gYear ; wdt:P608 , ; sch:thumbnailUrl ; write:description """"Li Bai's ‘Drink Alone Under the Moon’; ‘Raise a Wine Glass to Ask the Sky’ " is an installation work realized in 2019 by Wang Dongling . The artist used bright red acrylic on a six-fold screen to write two poems of Li Bai 李白 (701-762): "Drinking alone under the Moon (Yue xia duzhuo 月下独酌) and "Raise a Wine Glass to Ask the Sky" (Ba jiu wen tian 把酒问天). The artist used his distinctive Chaos Script (luanshu 乱书) on a golden leaf screen measuring 1.7 meters high and 3.6 meters long. The screen, slightly folded, is placed on a stainless steel plate of 1 meter wide and 4 meters long. This arrangement allows the golden screen to reflect, creating a dynamic interplay of mirroring effects that integrates the viewers into the work and invites a continuously shifting dialogue between the artwork and its audience.\r Wang Dongling had previously used the same two poems by Li Bai in 2016 for a monumental hanging scroll in black ink on white paper, measuring 2.75 m × 18.7 m."""@en ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q464980 ; wdt:P10661 , , , , , , ; wdt:P1476 "Writing Non-writing: Hangzhou International Modern Calligraphy Festival (书·非书：2019杭州国际现代书法艺术节)"@en, "书·非书：2019杭州国际现代书法艺术节"@zh, "Shū·fēi shū:2019 Hángzhōu guójì xiàndài shūfǎ yìshù jié"@zh-Latn ; wdt:P1640 , ; wdt:P276 , ; wdt:P580 "2019-10-12"^^xsd:date ; wdt:P582 "2019-10-24"^^xsd:date ; wdt:P664 , , ; wdt:P856 ; write:description """In 2005, Wang Dongling initiated a series of exhibitions titled "Writing and Non-Writing" (Shu · Feishu 书·非书), held periodically in Hangzhou. These exhibitions bring together Chinese and international artists who explore the possibilities of calligraphic art through various media. Emphasizing innovation, they showcase how calligraphy is integrated into modern life and diverse cultural contexts.\r The exhibitions are sponsored by the China Academy of Art and the China Federation of Literary and Art Circles (Hangzhou Committee), with organizational support from the Museum of Contemporary Art at the China Academy of Art, the Lanting Calligraphy Association (Hangzhou Committee), and the China Calligraphers Association (Hangzhou Committee). The "Writing Non-Writing" (Shu · Feishu 书·非书) exhibitions have taken place in multiple editions, including 2005, 2010 (tentative), 2015, and 2019, with the latter titled "Writing and Non-Writing: Hangzhou International Modern Calligraphy Festival" (Shu · Feishu: 2019 Hangzhou Xiandai Shufa Yishu Jie 书·非书：2019杭州国际现代书法艺术节)."""@en ; write:exhibitedArtwork , , . a wd:Q4502142 ; wdt:P1071 ; wdt:P127 ; wdt:P1476 "From Inception (从头开始)"@en, "从头开始"@zh, "Cóngtóu kāishǐ"@zh-Latn ; wdt:P170 ; wdt:P180 , ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2021-10-16"^^xsd:date ; wdt:P608 ; write:derivesFrom ; write:description "\"From Inception\" is calligraphic work created during the performance for opening of the exhibition “From Inception: Wang Dongling 60 Years of Calligraphy” (从头开始 ——王冬龄书法艺术60年). The artist writes the four characters of title of the exhibition (Cóngtóu kāishǐ 从头开始). "@en ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a write:DecorativeAndAppliedArt ; wdt:P1476 "Chinese Clothes NO.05-D02 (中国服装NO.05-D02）"@en, "中国服装NO.05-D02"@zh, "Zhōngguó fúzhuāng NO.05-D02"@zh-Latn ; wdt:P179 ; wdt:P180 , , ; wdt:P186 , ; wdt:P2048 "165 cm" ; wdt:P287 ; wdt:P462 , ; wdt:P571 "2004"^^xsd:gYear ; wdt:P608 ; write:description """"Chinese Clothes NO.05-D02" (Zhongguo fuzhuang 中国服装NO.05-D02) from the series "Chinese Clothes" was realized by Wang Tiande in 2004. In this work the artist explores the intersection of traditional Chinese clothing motifs and contemporary artistic expression. Wang combines the aesthetics of traditional garments (Hanfu 汉服), with his signature technique involving ink, cigarettes, and incense sticks. Wang’s layering of ink and paper in the series "Chinese Clothes" obscures individual characters, while the vivid physical traces of the artist assert the primacy of the creative process and the object’s materiality. Wang developed this method after accidentally dropping ash onto paper while lighting a cigarette in his studio and noticing the resulting perforations. For him, this process resembles "burning" information onto digital drives, which inspired the title of the series. This technique highlights the fragility and vulnerability of the medium, reminding us that much of Chinese culture is preserved through an inherently delicate medium, and that our grasp of past traditions is similarly elusive.\r \r """@en ; write:hasColophon false ; write:hasDecorativeArtworkType ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool , . a wd:Q7725310 ; wdt:P1476 "Chinese Clothes (中国服装系列)"@en, "中国服装系列"@zh, "Zhōngguó fúzhuāng xìlìe"@zh-Latn ; wdt:P170 ; wdt:P580 "2004"^^xsd:gYear ; wdt:P582 "2004"^^xsd:gYear ; sch:thumbnailUrl ; write:description """The series "Chinese Clothes" (Zhongguo fuzhuang xilie 中国服装系列) is a collection of artworks including clothes crafted by Wang Tiande in 2004. This collection juxtaposes traditional Chinese garment with contemporary artistic expression, emphasizing burn marks and the artist's use of gestural movements of ink evoking small forests, mountains and other natural elements on traditional Chinese clothes (Hanfu 汉服), such as qipao 旗袍 , made of silk. The main significance of this series consists of inviting viewers to reconsider traditional motifs within a modern context, provoking new ways of contemplation and facilitating a dialogue between past and present, tradition and innovation, reconsidering the Chinese cultural identity and artistic expression. The series consists of several clothes, including Chinese clothes No. 05-D02 (中国服装 No. 05-D02), Chinese clothes No. 04-D01 (中国服装 No. 04-D01), \r The pieces of the series "Chinese Clothes" are made of silk cloth, burn marks and Chinese ink, and were displayed during the exhibition "Redolent of Incense" held in Vancouver 2005."""@en ; sch:image ; write:includesArtwork . a wd:Q464980 ; wdt:P10661 , , , ; wdt:P1476 "Boundary of Freedom - Chinese Contemporary Ink towards Europe (自由的尺度-中国当代水墨走向欧洲)"@en, "自由的尺度-中国当代水墨走向欧洲"@zh, "Zìyóu de cèliáng-Zhōngguó dāngdài shuǐmò zǒuxiàng Ōuzhōu"@zh-Latn ; wdt:P1640 , , ; wdt:P276 , ; wdt:P580 "2018-06-02"^^xsd:date ; wdt:P582 "2018-07-02"^^xsd:date ; wdt:P664 ; write:description """ "Boundary of Freedom - Chinese Contemporary Ink" is an itinerant exhibition organized by Taihe Art Space. The first three exhibitions of the "Boundary of Freedom" series were hosted by Li Xianting, while the fourth exhibition was hosted by Fan Di'an. For the fifth exhibition, Wang Chunchen served as the Chinese curator, and Adriano Màdaro served as the Italian curator. This series of exhibitions reflects the diverse perspectives and practices within contemporary Chinese ink art.\r The Exhibition "Boundary of Freedom - Chinese Contemporary Ink towards Europe" (Ziyou de chidu - Zhongguo dangdai shuimo zouxiang Ouzhou 自由的尺度-中国当代水墨走向欧洲) is the "fifth round exhibition" of the series "Boundary of Freedom - Chinese Contemporary Ink" and was held in Ca' dei Carraresi, Treviso-Italy, from the 2nd of June 2018 to the 2nd of July 2018. With this exhibition Ca' dei Carraresi served as a venue for cultural exchanges and dialogues, enhancing visitors' understanding of contemporary Chinese ink art within the European context. A total of twenty-eight artists participated in this exhibition, representing various fields of contemporary Chinese ink with a range of artworks, from traditional ink paintings to experimental and multimedia installations. Artists can be broadly categorized into three groups: i) artists who demonstrate contemporary calligraphic expressions emerging from elements of Chinese culture and art, such as Wang Dongling 王冬龄, Qiu Zhenzhong 邱振中, Zhang Dawo 张大我, and Chen Guangwu 陈光武; ii) artists who blend Eastern ink aesthetics with Western abstract expressionism, such as Ji Zi 姬子, Liu Zijian 刘子建, Zheng Lianjie 郑连杰, and Hou Shanhui 侯珊瑚; iii) artists who derive their contemporary art from Daoist or Zen Buddhist philosophies, such as Fan Zhou 樊洲, Mao Xiaolang 茅小浪, and Hei Gui 黑鬼, reflecting Taihe Art Space's consistent artistic principle of "harmony in diversity, with quality as the priority" (He er bu tong, pinzhi wei shang 和而不同，品质为尚)."""@en ; write:exhibitedArtwork . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Not Too Late (不太晚)"@en, "不太晚"@zh, "Bù tài wǎn"@zh-Latn ; wdt:P170 ; wdt:P180 , ; wdt:P462 , , , , , , ; wdt:P571 "2009"^^xsd:gYear ; wdt:P608 ; wdt:P856 ; wdt:P941 ; sch:thumbnailUrl ; write:description """"Not Too Late" represents Feng Mengbo's first digital artwork engaging directly with calligraphy. It is structured as an interactive digital video based on video game logic and incorporates aesthetic elements of Chinese calligraphy. In this video, the calligraphic gesture is literally brought to life: it dissolves, reconfigures, dances, and explodes. The work’s emphasis on performative gesture and kinetic energy recalls Jackson Pollock’s action painting (artist interview, March 2024). \r The soundtrack plays an important role in the structure of the video: it opens with traditional Chinese instruments and transitions into electronic music in the second part. The title "Not Too Late" is derived from the second musical track, which is composed by Hua Dong, member of the Chinese indie rock band New Pants (Xin kuzi yuedui 新裤子乐队). From a technological point of view, Feng Mengbo uses a customized version of the popular first-person shooter video game “Quake 3 Arena” (id Software Inc., ©1999) to simulate the movements of brushstrokes in a three-dimensional virtual space. \r This artwork was first exhibited in "Decode: Digital Design Sensations", organized by the Victoria and Albert Museum and hosted at the CAFA Museum in Beijing in 2010. \r From this video piece, the artist developed a series of ink and mixed-media paintings that capture isolated moments from the video and transfer them to canvas and paper. These works were presented for the first time in the "Not Too Late - Recent Works by Feng Mengbo" exhibition at Chambers Fine Art Gallery in Beijing in 2012, and later in New York in 2013."""@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:vectorisedOrDigitised true ; sch:video . a write:DecorativeAndAppliedArt ; wdt:P1071 ; wdt:P1476 "The Entire World Celebrates (普天同庆)"@en, "普天同庆"@zh, "Pǔtiāntóngqìng"@zh-Latn ; wdt:P180 , , , , ; wdt:P186 , , ; wdt:P287 , , ; wdt:P462 , , , ; wdt:P571 "2010"^^xsd:gYear ; wdt:P856 ; wdt:P88 ; sch:thumbnailUrl ; write:description """The artwork "Entire World Celebrates (Putiantongqing 普天同庆)" was the Kwanyin Clan’s most successful experiment with distinctly Chinese yet modernised elements in a work commissioned by a foreign brand. It depicts a football fully hand-painted with tempera and marker, made on commission for Adidas for the 2010 FIFA World Cup advertising campaign. Yumi and Nat, the creators of the piece, covered the entire surface of the ball with traditional Chinese motifs, reworked in very personal ways. A curved line divides the ball into two parts and recreates the Taijitu 太极图, the Daoist symbol par excellence, consisting of the stylized shape of a black and a white fish, intertwining in a whirling embrace. It represents the concept of the Tao (Dao 道), the source of being that regulates the development of the universe through the alternation of two complementary elements: yin 阴, the dark-negative polarity represented by the black fish, and yang 阳, the light-positive polarity represented by the white fish. \r The two sections of the ball are filled with opposing motifs: one recalls the Euro-American graffiti tradition and the other the traditional Chinese culture, and these intertwine just like Yin and Yang, in a perfect fusion. On one side, Yumi creates an extreme grey and white wildstyle, while on the other, on a red background, Nat draws the zoomorphic image of the taotie 饕餮, an archaic decorative motif typical of ritual bronzes from the Shang (c. 1600-1046 BC) and Zhou (1046-221 BC) dynasties, representing a frontal, symmetrical mask with various parts of different animals. Since, in the Chinese tradition, football – or cuju 蹴鞠 (lit. kicking a leather ball) – evoked a Zen meditative act, the artists instinctively thought of the image of the Taijitu, consisting of the stylised form of two fishes, one white and one black, intertwining with each other, surrounded by the Eight Trigrams. According to FIFA, cuju is the earliest attested form of football in the world, and its invention dates from the Han dynasty (206 BC-220 AD). Initially, it was slightly different from the modern game: there were six holes on each side of the pitch with six goalkeepers, and each team, composed of six players plus the goalkeepers, had to score the highest number of goals. In the Tang dynasty (618-907), the holes turned into two goals on opposite sides of the field and the game resembled the current one. The Eight Trigrams are figures composed of three parallel lines, surrounding the Taijitu with a perfect octagon, each aligned to a cardinal point. The lines can be continuous or broken, indicating positive (yang) or negative (yin) polarity respectively. Each trigram corresponds to a natural element or phenomenon (sky, swamp, fire, thunder, wind, water, mountain and earth), and all together they symbolize the contents of the Book of Changes (Yijing), one of the fundamental texts of traditional Chinese knowledge. The wildstyle within one of the two sections of the ball recalls the linearity of the trigrams. Reference to the World Cup in the image is evident: the two sections of the Taijitu ideally represent the two football teams (the yin and the yang) that share and mix on the same pitch (the circle), thus generating a continuous action (the Tao)."""@en ; write:hasChineseConcept , , ; write:hasChineseVisualElement , ; write:hasColophon false ; write:hasDecorativeArtworkType ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool , . a wd:Q17514 ; wdt:P1476 "Broken Celadon "@en ; wdt:P170 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P276 , ; wdt:P462 , , , , , , , , ; wdt:P571 "2016-07-01"^^xsd:date ; wdt:P6375 "No.8 Huajiadi South Street. Chaoyang District, Beijing."@en ; wdt:P88 , , ; sch:thumbnailUrl ; write:description """This artwork was made by the Kwanyin Clan for the exhibition "Street Art, a Global View" (The History of Street Art - from New York to Beijing) held in 2016 from 1 July to 24 August at the CAFA Art Museum (Art Museum of the Central Academy of Fine Arts) in Beijing. The exhibition was the first opportunity to showcase pieces by foreign street artists in China, generating both a geographical and temporal comparison of the street art phenomenon in its globality. The Kwanyin Clan was one of the few Chinese crews invited to participate in the event, proving the group's fundamental importance within the art scene in mainland China and abroad. The work they created for this event is composed of a green celadon glazed ceramic vase that recalls the Jun-type celadons made in China during the Song Dynasty (960 - 1279). This kind of ceramics is considered one of the finest forms of Chinese art and one of the most beautiful ceramic ware of all time, particularly appreciated among the Chinese literati. \r The explosive force of the elaborate wildstyle charactering piece "guanyin 观音" inserted into the celadon pushes onto the thin walls of the vase and disintegrates it, representing the forces of modernity that break and overcomes tradition. \r In the lower right-hand corner, there are a running style (xingshu 行书) calligraphic inscription consisting of two chengyu written on vertical columns that serves as a double warning. The first chengyu states that "observing a person's failings you know what he really is" (guanguozhiren 观过知仁), while the second affirms that "when we receive positive influences, we can change our old habits" (panlingeyin 泮林革音). These two chengyu seem to be personal and artistic admonishments made by the crew. i) With regard to the personal sphere, the smashed vase represents the person's faults and failing: when the person's thin 'glaze' is smashed, one can show his real nature and change his old habits. ii) With regard to the artistic sphere, the content of the vase represents the real nature of the Kwanyin Clan's art (graffiti), while the traditional art is only its cover (the glaze of the vase): when the power of graffiti smashes that cover, the traditional influences will be transformed into modern art. \r As usual in traditional calligraphy, next to the calligraphic inscription there is a seal with the name of the crew, but opposite to the traditional canons, the seal is in Latin letters and not in archaic characters. """@en ; write:hasChengyu true ; write:hasChineseConcept , ; write:hasChineseVisualElement , ; write:hasColophon false ; write:hasGraffitiGenre ; write:hasGraffitiStyle , , ; write:hasGraffitiType ; write:hasSeal true ; write:hasUnit , , ; sch:image ; write:madeUsingTool . a wd:Q17514 ; wdt:P1476 "Olympic Beijing "@en, "北京奥运"@zh, "Běijīng àoyùn"@zh-Latn ; wdt:P170 ; wdt:P180 ; wdt:P186 , ; wdt:P276 ; wdt:P462 , , , ; wdt:P571 "2008-04"^^xsd:gYearMonth ; wdt:P6375 " West wall of the Institute of Technology, Weigongcun, Beijing."@en ; wdt:P941 , ; sch:thumbnailUrl ; write:description """This artwork was created for the 2008 Olympic Games near the Beijing Institute of Technology as part of the Beijing Olympic Cultural Wall Creative Design Campaign. This campaign was sponsored by the Beijing Olympic Committee, the Beijing City 2008 Environmental Headquarters Office, and the Beijing People’s Broadcasting Station, with the aim of stimulating the creativity of artists in bringing further prestige to the international event and getting citizens to actively contribute to its success. Such mass involvement in artistic production is a distinctive feature of communist propaganda. As is often the case with Chinese crews, the Kwanyin Clan has regularly collaborated with the local Chinese government, to embellish the urban fabric of Beijing and create “visual propaganda” works to promote the image of a rich, prosperous, long-standing China. \r In Olympic Beijing we find a number of typically Chinese elements representing the country’s past and present greatness (calligraphic inscriptions, bamboo, pagodas, a table-tennis player, traditional cloud and wave motifs), with explicit references to the Beijing Olympics (the central lettering "Beijing Olympics", the Olympic torch, the stylized little man logo and the Fuwa mascot), accentuated by an extensive use of China’s hallmark red and recalling a modern-day nationalist propaganda poster."""@en ; write:hasChengyu false ; write:hasChineseConcept , ; write:hasChineseVisualElement , , , , , ; write:hasColophon false ; write:hasGraffitiGenre ; write:hasGraffitiStyle , , ; write:hasGraffitiType , ; write:hasOtherVisualElement , , , , , ; write:hasSeal true ; write:hasUnit , , ; sch:image ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P1480 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P407 , ; wdt:P462 , , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Joy in bottle (破樊笼 + seals)" ; write:description """This Calli-Writing Unit is composed of two parts: \r 1) on the left side, there's a red-stamped section containing 16 tag/seals, each bearing the names of the artists who contributed to this collaborative creation: Smer, Max, Seven, Jer, Way Fan, Blood Bro, Ogs, Andc, Spade, Thorn Donis, Goes, Kayo, Neon, Zeb Roc Ski, Abs, and Tpm. Each tag, written in red Latin letters, is encircled to resemble an ancient seal. \r 2) Next to the tag/seals, there's an inscription in bold characters that reads “Pofanlong 破樊笼” (The birdcage has disintegrated), accompanied by a description of the main characteristics of Chinese dragons. This inscription refers to the massive and fierce red Chinese dragon that spans the entire wall. The dragon seems to emerge from the text, “haunting” the wall with its presence. "Pofanlong 破樊笼" translates to "break free from the cage" in English, symbolizing liberation from confinement or limitations, and achieving freedom. In describing the Chinese dragon's main features, the text employs chengyu (four-characters idiomatic expression) such as "summon wind and rain" (hufenghuanyu 呼风唤雨) that metaphorically indicates great power and influence to control or manipulate situations, and the chengyu "wusuobuneng 无所不能" translates to "omnipotent" or "capable of anything" that describes someone or something with limitless abilities."""@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasGraffitiStyle , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 70 ; write:relatedUnit , , ; write:transcriptionAndTranslation "The birdcage has disintegrated"@en, "破樊笼"@zh, """Pòfánlóng\r """@zh-Latn . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 Joy in bottle (有明自远方来 + seals)" ; write:description "This Calli-Writing Unit is located in the center of the artwork: on one side, there's an inscription that reads \"You ming zi yuanfang lai 有明自远方来\", followed by a list of the writers’ cities of origin, serving as a modern colophon for these traveling artists. Translated from Chinese, this inscription means: \"Some people come from afar: Beijing, Tongchuan, Chengdu, Yinzhou, Wuhan, Chongqing. Greetings from China.\" This section also includes two red tag/seals: one with the inscription \"Zhongguo 中国 (China)\" and another with the inscription \"hujian 互鉴 (mutual learning)\"."@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasGraffitiStyle ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 29 ; write:relatedUnit , , ; write:transcriptionAndTranslation "China"@en, """Some people come from afar: \r Beijing, Tongchuan, Chengdu, \r Yinzhou, Wuhan, Chongqing. \r Greetings from China.\r (lit. some people come from afar (idiom); fig. visitors come from afar)"""@en, "mutual exchange of experience, mutual learning."@en, "中国"@zh, "互鉴"@zh, """有明自\r 远方来\r 北京, 铜川, 成都，\r 银州, 武汉, 重庆\r 来自中国的\r 问候."""@zh, "Hù jiàn"@zh-Latn, """Yǒu míng zì \r yuǎnfāng lái \r Běijīng, Tóngchuān, Chéngdū, \r Yínzhōu, Wǔhàn, Chóngqìng \r láizì zhōngguó de wènhòu."""@zh-Latn, "Zhōngguó"@zh-Latn . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Ferragina – Cerino Heart Sutra : The Music of the Chinese Calligraphy (塞尔维奥&亚历山得罗：心经 - 中国书法的音乐) - Artwork"@en, "塞尔维奥&亚历山得罗：心经 - 中国书法的音乐"@zh, "Sàiěrwéiào & Yàlìshāndéluó: Xīnjīng - Zhōngguó shūfǎ de yīnyuè"@zh-Latn ; wdt:P170 ; wdt:P180 ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2016-10-20"^^xsd:date ; wdt:P608 ; wdt:P941 ; sch:thumbnailUrl ; write:derivesFrom ; write:description "This artwork was created during the performance \"Ferragina – Cerino Heart Sutra : The Music of the Chinese Calligraphy (塞尔维奥&亚历山得罗：心经 - 中国书法的音乐)\" which took place at the Hangzhou Conservatory on October 20, 2016. Silvio Ferragina wrote in not simplified characters and in regular script, the characters that composed the fundamental part of the Heart Sutra, namely: \"Sè bù yì kōng, kōng bù yì sè; sè jí shì kōng, kōng jí shì sè色不異空，空不異色； 色即是空，空即是色\" (Form is no different from emptiness, emptiness is no different from form, form is just such emptiness, emptiness is just such a form). The characters are written from top to bottom and from right to left. The four fundamental characters that emerge are precisely \"色不異空\" which highlight the formulation of the doctrine of \"emptiness\" (or literally: \"emptiness\") or the insubstantiality (or intrinsic non-existence) of all phenomena."@en ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool ; write:usesArtwork . a wd:Q184485 ; wdt:P1132 4 ; wdt:P1476 "Peony Dreams: On the Other Side of Sleep (牡丹梦)"@en, "牡丹梦"@zh, "Mǔdān mèng"@zh-Latn ; wdt:P175 ; wdt:P180 , , , , ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P276 ; wdt:P585 "2020"^^xsd:gYear ; wdt:P941 ; write:description """This new dance theater piece took place at the “Ringling Historic Asolo Theater” (Sarasota, Florida) in January 2020. This piece is a boundary-defying work of intercultural dance theater inspired by one of the most revered plays in Chinese literature: “The Peony Pavilion” (Mudan meng 牡丹亭), also named “The Return of Soul at the Peony Pavilion”, a romantic tragicomedy written by the great Chinese playwright Tang Xianzu 湯顯祖 (1550- 1616). It is traditionally staged as a Kunqu play. The play focuses on the love story between Du Liniang 杜丽娘 a female young noble and Liu Mengmei 柳梦梅. During a walk in her house garden, Du Liniang stops to rest and falls asleep. In her dream, a handsome young man named Liu Mengmei appears to her. She has never met this young man, but she falls in love with him at first sight. Awakened by a rain of petals, the dream vanishes: unable to find the enchantment of the dream in her life and reality, Du Liniang dies of melancholy. As it happens, her dreamed-of lover passes by the girl’s house. Seeing her picture on the wall, he declares: “This is the woman I saw in my dreams—this is the woman I will marry!”. Informed of her passing, he is despondent—but when her family brings him to her coffin, the girl suddenly wakes from death. The two immediately fall in love and live happily ever after. The effect of this work on Chinese history and culture can hardly be overstated. Epitomizing a deep strain of romantic mysticism within Daoist philosophy, “The Peony Pavilion” states the case for life as an essential mystery. “The Peony Pavilion” is part of the collection “The Four Dreams of Linchuan” (Linchuan si meng 临川四梦), also called “The Four Dreams of the Jade Tea Hall”. \r The performance is realized by a total of four dancers: Yin Mei 殷梅, Zhang Huiwang 张慧望, Zhou Lijun 周丽君and Hui Guanglei 回广磊. It begins with Yin Mei in the centre stage standing on a red sheet placed along the midline and holding a bowl full of ink. A voiceover (by Yin Mei herself) recites: “In my dreams, I see what I cannot see and hear what I cannot hear” , repeated three times. At the same time, another performer enters from the back of the stage, carrying a paper folding fan with her. She approaches Yin Mei moving very slowly, then exits the scene. Yin Mei remains alone in the centre of the stage and begins to drip the black ink in the bowl on the red carpet. A voice-over (this time a male one) continues to recite: “In my dreams, I see what I cannot see and hear what I cannot hear”, taking the viewer into another dimension. Two dancers dressed in white enter the stage, starting to run towards a scroll of paper placed on a panel to the left of the stage. The two dancers write Chinese characters very quickly with black felt-tip pens, various signs, lines, and scribbles, including a date, running back and forth, as in a sort of competition to see who “writes faster”. The men race to a vertical scrim to madly scribble or smear paint in the wild style pioneered by the calligrapher Huaisu known as the “Crazy Monk” or like an Asian Jackson Pollock. At the same time, Yin Mei continues to struggle on the red sheet placed in the centre of her and to trace movements with her body, starting to spread ink all over the sheet with her body using sponges soaked in ink. One of the two dancers and Yin Mei leave the stage, while the other dancer remains. After a few seconds, the three are all on the scene. Zhou Lijun begins to caress the white sheet on which the two dancers had written, full of signs and scribbles, “feeling” that kind of creation just made; the other two dancers, on the other hand, roll and dance on the sides of the creation created shortly before by Yin Mei, which lights up becoming almost incandescent. One of the two dancers “climbs” on Yin Mei’s calligraphy, also starting to “feel” those traces of ink. As she struggles with strong, snappy movements, Yin Mei begins to rewind the red roll of paper, walking bent over. The other dancer leaves the stage, then returns several times and throws dust (or earth/clay?) at Yin Mei. Then the dancer slowly follows her, throwing the powder on her head while Yin Mei continues to rewind the roll, to then both leave the scene.\r Then a male dancer and a female dancer enter, he dressed in white and she in black and they position themselves very close, facing each other. The male off-screen voice starts again, and the two dancers begin to make very slow movements in the centre of the stage, where the roll used to be and which has now left only a luminous trail. The dancer is left alone, and Yin Mei enters the stage with a microphone where she reads some letters she wrote to her mother when she was young. The letters are particularly wrenching: “Mom, I’m going to the military training […]; I prepare for suffering […] to distinguish myself”. Simultaneously, the same words are also enunciated in Chinese by a voice-over. Yin Mei leaves the stage, the dancer dressed in black remains and the other two dancers dressed in white enter, who begin to unroll a roll of white paper, then making it swing diagonally and turning in the centre of the stage. Yin Mei and the other dancer enter the stage, while the other two dancers hold the scroll, holding it up towards the audience. The two females begin to rub it on all sides and draw calligraphic lines with sponges soaked in ink, as if they wanted to “feel” it: Yin Mei and the other female dancer write on both sides of the roll, alternating in movements. Once the calligraphy is finished, the scroll is taken away and Yin Mei begins to speak again, this time off-screen, addressing her mother and describing the artist she will become, calling herself “The Eve of a Chinese New Year”. The male dancer and the female dancer remain on stage and begin to dance together. A little later from two, they become three, starting to make linear and sinuous movements in which the bodies intertwine with each other. Only the female dancer, Zhou Lijun 周丽君, remains on the scene, who is joined by Yin Mei, who begins to wrap a piece of blue cloth around the mouth of her collaborator. As she does this, her voice-over continues her story to her mother, telling her to be safe and to have everything she needs: two pairs of socks, a jacket, a pair of boots, a bed to sleep on. Zhou Lijun gradually manages to get rid of the fabric with which Yin Mei “tied her to himself”.\r A half-naked male dancer enters the scene and the two dancers begin to calligraph on his body, until it becomes covered in ink. The dancer then begins to dance alone in the center of the stage while another male dancer, behind him, begins to cover the hanging white sheet that had been previously calligraphed with red paint. This dancer starts to take a running start, as if he wants to climb onto the panel and then hang on it. He then begins to make movements remaining in contact with the sheet, rubbing his body against it. Another dancer hands him a vat full of ink, where he will dip both feet. Maintaining perfect balance inside the bowl, he starts jumping with feet together, moving forward and splashing black ink out of the bowl. The result is a thick black line smeared on the white floor. Another male dancer joins him, rotating the body of the dancer who always remains with his feet inside the basin. Yin Mei enters the scene with a white mask on her face and the two dancers start making her dance, carrying her up and accompanying her movements. While Yin Mei remains alone on the stage, two other dancers enter and bring folded sheets of paper with them which they place at the sides of the stage. The two then lie down on it, while from the back two female dancers carry a sheet of paper spread out like a fan soaked in red ink. A female dancer positions herself in the centre, and the two male dancers stand up, also fanning the sheets. The three dancers begin to dance together, opening and closing their fans almost simultaneously. The three then stop and kneel in front of the papers. Yin Mei enters the stage with both black and red ink, which she begins to sprinkle on the fans of the other dancers, then throws a basin full of black ink at them. The four, now completely covered in ink, perform a final choreography, in which bodies, ink and splashes of color form a single whole.\r """@en ; write:hasChineseConcept , ; write:hasPerformingArtworkType ; write:hasUnit , , ; write:madeUsingTool wd:Q614467 . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "Cursive / Wild Grass (草书)"@en, "草书"@zh, "Cǎo shū"@zh-Latn ; wdt:P175 ; wdt:P180 , ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P276 ; wdt:P585 "2006"^^xsd:gYear ; write:calligrapher ; write:createsArtwork ; write:description "More than a real choreography, “Cursive (Wild Grass)” is a mixed media solo installation/performance work. It was held for the first time on 25 February 2006 at the Vision Festival of New York. The performer is Yin Mei herself, accompanied by the music of the American jazz multi-instrumentalist Joe McPhee (b.1939). Yin Mei is dressed in black and lying on a white paper sheet. She starts to move, snaking and rolling around on the paper. Then she drenches her body in ink, starting to move as before but leaving traces of ink on the paper through her body movements. With her hands and feet, she performs circular and spiral movements, creating both linear and spotty smears of ink, becoming a calligraphic brush. This type of performance is very reminiscent of the movements and gestures made by the artist and performer Echo Morgan in “Anatomy of Posidonia” (2022) (see the archive) or also in “Painting until it becomes Marble - Love Never Dies” (2019). Both these female artists have their bodies pervaded by ink or colours, they both lie down on the sheet and move, leaving “traces” of themselves on the sheet. What changes is the calligraphic reference: in “Cursive/Wild Grass” there is certainly a more direct reference to calligraphy (already visible from the title itself), while in Echo Morgan’s performances the intention to revoke calligraphy is more veiled. In both artistic concepts, however, what prevails is the expression of themselves through tradition, through something that speaks of themselves and their Chinese cultural identity. And for both, the only means to implement this type of expression is the body, transformed it into a brush."@en ; write:hasChineseConcept , ; write:hasPerformingArtworkType ; write:hasUnit ; write:madeUsingTool wd:Q23852 . a wd:Q4502142 ; wdt:P1071 , ; wdt:P1476 "The Invisible Words: A GPS Calligraphy Project (行书—GPS书法项目)"@en, "行书—GPS书法项目"@zh, "Xíngshū—GPS shūfǎ xiàngmù "@zh-Latn ; wdt:P170 ; wdt:P462 , , ; wdt:P571 "2006"^^xsd:gYear ; wdt:P608 ; wdt:P856 ; sch:thumbnailUrl ; write:description """The "Running Script - GPS Calligraphy Project" is a video that describes the project Feng Mengbo carried on between 2005 and 2006, in which he merges modern GPS technology—utilizing waypoint marking, path mapping, voice navigation, and real-time GPS tracking—to translate Chinese calligraphy into large-scale geospatial art. The video consists of two main parts: creating Chinese character shapes through GPS tracking on the roads of Beijing (Part 1) and on the sea near Brisbane, Australia (Part 2).\r Part 1: Driving in Beijing: This phase involved studying and planning Chinese characters by marking waypoints and mapping the path, which served as a blueprint for the driving route. The waypoints and path were programmed into a GPS navigation system, which the driver meticulously followed. During the execution, the artist used a separate GPS device to record and collect data on the vehicle's path. Several Chinese characters in Regular Script were created, including shì 世 (world).\r Part 2 Motorboating in Brisbane: In this phase, the execution shifted from urban streets to open water. Instead of a car, a motorboat was used to trace the characters. The pre-mapped path was followed via GPS navigation, and the artist once again collected data on the movement. On the water, the artist created characters in Running Script, a more fluid and expressive calligraphic style.\r The transition from Regular Script in Beijing to Running Script in Brisbane was a deliberate adaptation to the specific environment. The rigid, angular structure of Regular Script suited the straight roads and intersections of Beijing, while the flowing and dynamic nature of Running Script was more compatible with the movement of water. The video, The Invisible Words: A GPS Calligraphy Project, was exhibited at the Asia Multimedia Arts Festival (Yataiduo Meiti Yishujie 亚太多媒体艺术节, MAAP) in Australia in 2006.""" ; write:hasVisualArtworkType , ; write:hasSeal false ; write:hasUnit , ; sch:image ; write:vectorisedOrDigitised true . a wd:Q4502142 ; wdt:P1071 ; wdt:P127 ; wdt:P1476 "Overturning the Mountains (山摧)"@en, "山摧"@zh, "Shāncuī"@zh-Latn ; wdt:P170 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P2048 "95.5 cm" ; wdt:P2049 "87.5 cm" ; wdt:P462 , ; wdt:P571 "1985"^^xsd:gYear ; wdt:P608 ; wdt:P856 ; wdt:P941 ; wdt:P973 ; sch:thumbnailUrl ; write:description """In this work, which drew inspiration from a poem by Li Bai 李白 (701 – 762), the artist wrote two huge characters, 'shan' 山 (mountain) and 'cui' 摧 (destruction, overturning), in order to create a visual metaphor: the character 'shan' 山 (mountain) is overturned by the force of the other main character 'cui' 摧 (destruction) to symbolize the emergence of a new era for calligraphy. The two characters are part of two lines of a poem by Li Bai entitled “The Hard Road to Sichuan” (Shudao nan 蜀道难) , which Gu Gan wrote very freely around the huge character shan 山 “mountain”. Gu Gan’s huge characters reinforce the message of the two lines by Li Bai that from great upheaval new and good things would emerge. For Gu Gan, calligraphy is symbolically rejecting old ideas to give birth to new ones. \r This work was exhibited for the firt time during the "First Exhibition of Modern Calligraphy" that was held in 1985 at the National Art Museum of China, becoming the icon of this exhibition. It expresses the idea that the time had come for China to set aside old ideas and press ahead with reform. This approach marked a major break with tradition, representing a move towards the idea that the form of a calligraphic composition and the arrrangement of the characters within it should reinforce the meaning of the piece. """@en ; write:hasVisualArtworkType ; write:hasColophon true ; write:hasSeal true ; write:hasUnit , ; sch:image ; write:madeUsingTool . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Zhang Aiguo 张爱国" ; wdt:P27 ; wdt:P569 "1967"^^xsd:gYear ; wdt:P742 "Lao Ai (老爱)" ; wdt:P800 , ; wdt:P812 , , ; wdt:P856 ; wdt:P937 ; sch:thumbnailUrl ; write:description "Zhang Aiguo 张爱国, also known as Lao Ai (老爱), was born in 1967 in Huai'an, Jiangsu Province, China. He obtained his bachelor's, master's, and doctoral degrees in Calligraphy and Seal Cutting from the China Academy of Art (CAA, 中国美术学院) in Hangzhou, China, where he studied under Professor Wang Dongling 王冬龄. In 2007, he earned his Ph.D. in Literature. Currently, he serves as an Associate Professor and Master's Supervisor in the Department of Calligraphy at the China Academy of Art. He is also a Visiting Professor at Gifu Women's University in Japan (日本岐阜女子大学), a Researcher at the Modern Calligraphy Research Center of the China Academy of Art (中国美术学院现代书法研究中心), and the Deputy Secretary-General of the Lanting Calligraphy Society (兰亭书法社). Zhang is also a member of the China Education Association for Calligraphy, the China Calligraphers Association (中国书法家协会), and holds positions in various calligraphy organizations in Zhejiang Province and Hangzhou City. He is also the inaugural Researcher at the Chinese Calligraphy Research Institute of Southeast University (东南大学中国书法研究院), a Visiting Professor at the School of Arts of Xiamen University (厦门大学艺术学院), and a Visiting Artist at the Chinese University (香港中文大学) of Hong Kong. "@en ; write:hasCalligraphicTraining "Academic"@en ; sch:image . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Qiu Zhenzhong Calligraphy Works Exhibition -- The First Four Series (邱振中书法作品展——最初的四个系列）"@en, "邱振中书法作品展——最初的四个系列"@zh, "Qiū Zhènzhōng shūfǎ zuòpǐn zhǎn——Zuìchū de sì gè xìliè"@zh-Latn ; wdt:P276 , ; wdt:P580 "1989-07-11"^^xsd:date ; wdt:P582 "1989-07-16"^^xsd:date ; write:description "In 1989, Qiu Zhenzhong held a solo exhibition titled \"Qiu Zhenzhong Calligraphy Works Exhibition – The First Four Series\" at the National Art Museum of China (NAMOC) in Beijing. On this occasion, he presented his foundational work, consisting of four distinct series, collectively named \"The First Four Series\" ." ; write:exhibitedArtwork , , , , , , , . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "New Poems Series - Guarantee (新诗系列——保证)"@en, "新诗系列——保证"@zh, "Xīnshī xìliè——Bǎozhèng"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P186 , ; wdt:P2048 "68 cm" ; wdt:P2049 "68 cm" ; wdt:P462 , ; wdt:P571 "1988"^^xsd:gYear ; wdt:P608 ; sch:thumbnailUrl ; write:description "Guarantee is part of the \"New Poems Series\" realized by Qiu Zhenzhong transcribes free verses in vernacular language (Xin shi 新诗) in a horizontal, left-to-right manner, completely unconventional in Chinese calligraphy. Characters become unrecognizable." ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Word Series - Three One Three Ten One (语词系列 · 三一三十一)"@en, "语词系列 · 三一三十一"@zh, "Yǔcí xìliè · Sān yī sān shí yī"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , ; wdt:P186 , ; wdt:P2048 "68 cm" ; wdt:P2049 "68 cm" ; wdt:P462 , ; wdt:P571 "1989"^^xsd:gYear ; wdt:P608 ; sch:thumbnailUrl ; write:description "\"Three One Three Ten One\" is one of the artworks included in \"Word Series\" (1988-1989) by Qiu Zhenzhong. In this particular artwork he transcribes the polysyllabic entries—three- and four-syllable compounds— listed under the word “triangle” (sanjiao 三角) in the Hanyu Da Cidian (Comprehensive Chinese Word Dictionary). Each word begins with the same root but follows a divergent, often unrelated, semantic path. The characters are arranged horizontally with a free spatial disposition, breaking from the vertical structure of traditional calligraphy. By doing so, Qiu Zhenzhong emphasizes the visual rhythm of repetition and the dissonance of disconnected meanings, transforming lexicographic content into a conceptual and spatial artwork." ; write:hasVisualArtworkType ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Signatures Series - Diary (众生系列·日记)"@en, "众生系列·日记"@zh, "Zhòngshēng xìliè · Rìjì"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , ; wdt:P186 , ; wdt:P2048 "18 m" ; wdt:P2049 "54 m" ; wdt:P462 , ; wdt:P571 "1988-09-07"^^xsd:date, "1989-06-26"^^xsd:date ; wdt:P608 ; sch:thumbnailUrl ; write:description "\"Diary\" is one of the artwork included in the \"Signatures Series\" (1988-1989) by Qiu Zhenzhong. In this artwork he transcribes his own name, his grandmother's name, and other phrases repetitively on the same sheet every day from September 7, 1988, to June 26, 1989. The arrangement of elements is entirely random, and the artist explores themes of repetition and ritual." ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Characters to Be Deciphered No. 8 (代考文字8号) "@en, "代考文字 8号"@zh, "Dài kǎo wénzì 8 hào"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P186 , ; wdt:P2048 "68 cm" ; wdt:P2049 "68 cm" ; wdt:P462 , ; wdt:P571 "1988"^^xsd:gYear ; wdt:P608 ; sch:thumbnailUrl ; write:description "This artwork is inspired by undeciphered characters found on pre-Qin coins. Qiu Zhenzhong freely traces calligraphic lines on the paper space without specific meaning. This series emphasizes abstract aesthetics over linguistic significance." ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P282 ; wdt:P407 ; wdt:P462 , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 3 Joy in bottle (Joy in bottle + seal Joybo)" ; write:description "This Calli-Writing Unit is located in the center of the artwork and is composed of the phrase \"Joy in Bottle\" (the title of the work) and Joybo’s red tag/seal."@en ; write:directionality "Modern" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasColophon false ; write:hasGraffitiStyle , , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:relatedUnit , , ; write:transcriptionAndTranslation "Joy in Bottle"@en, "Joybo"@en . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P282 , ; wdt:P407 , ; wdt:P462 , ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 4 Joy in bottle (二零一八 + Berlin Mural Fest + seals)" ; write:description """This Calli-Writing Unit is located on the right side of the artwork and features two inscriptions "erlingyiba 二零一八 (2018)", marking the date of creation, and "Berlin Mural Fest". There also two red seals.\r """@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasGraffitiStyle , ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isTagOf ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:relatedUnit , , ; write:transcriptionAndTranslation "2018"@en, "Berlin Mural Fest"@en, "二零一八"@zh, """Èrlíngyībā\r """@zh-Latn . a write:DecorativeAndAppliedArt ; wdt:P1071 ; wdt:P1476 "Logo of the Paralympic Games Beijing 2008"@en ; wdt:P180 , , ; wdt:P287 ; wdt:P462 , , , ; wdt:P571 "2008"^^xsd:gYear ; sch:thumbnailUrl ; write:description """The logo of the 2008 Paralympic Games, dubbed “Sky, Earth and Human Beings” (Tiandiren 天地人), was designed by Paul Liu, a professor at the Central Academy of Fine Arts in Beijing. The logo represents a stylized figure of an athlete in motion, symbolizing the tremendous efforts that a disabled person must exert both in sports and in daily life. This figure is the result of the transformation of the Chinese character “zhi 之”—which can mean “birth,” “life,” “go,” or “attainment”—into a modern, dynamic visual element. The character is rendered in a Chinese calligraphic font, drawing on the aesthetic qualities of semi-cursive script to convey fluidity and energy.\r The design reflects the unity and harmony of “sky, earth, and human beings”, integrating Chinese characters, calligraphy, and the spirit of the Paralympics. In this way, the logo embodies the Paralympic motto “Spirit in Motion”, while also illustrating the philosophical principle of the integration of heart, body, and spirit—a central tenet of Chinese culture. The three colors of the logo—red, blue, and green—represent the sun, sky, and earth, respectively, reinforcing the symbolic connection between human beings and the natural cosmos.\r According to the "Shuowen Jiezi" (说文解字), the earliest surviving Chinese dictionary, completed by Xu Shen (许慎) around 100 CE, the original form of the character “zhi 之” derives from “zhi 止” (foot) with a line added beneath it. This etymology emphasizes movement and the notion of “going forward,” which resonates with the mission of the Paralympics: transcending physical and personal limits. The character’s form appears to depict a human figure with a head (the red dot), arms and torso (the blue stroke), and a single stroke in place of two legs (the green stroke). This visual form evokes the physical conditions of some Paralympic athletes, while emphasizing their capacity to move, walk, and progress in continuous motion. \r The designer enhances the aesthetic and visual impact through the skillful combination and arrangement of dots and lines, ensuring that the shape of the athlete harmonizes with the seal of the Beijing Olympic Games. The inscription “Beijing 2008”, like that of the Olympic logo, uses black calligraphic strokes, while “Paralympic Games” is written in black using a Western-style digital font, reflecting a thoughtful integration of Eastern and Western visual systems.\r Thus, the logo can be seen as an example of glocalization, where local elements of Chinese tradition—characters, calligraphy, and philosophy—are combined with the global visibility and universal spirit of the Paralympic Games, achieving a perfect synthesis of tradition, modernity, and international significance.\r \r This logo is directly linked to the official logo of the Beijing 2008 Olympic Games, designed by Guo Chunning, commonly referred to as “Dancing Beijing.” Selected through an international design competition and officially unveiled on August 3, 2003, the emblem represents a sophisticated synthesis of traditional Chinese calligraphy, cultural symbolism, and the dynamic spirit of the Olympic Games.\r The logo features a red seal containing a stylized character "Jing 京" (capital), which has been transformed into the abstract shape of a dancing figure or athlete in motion, evoking energy, vitality, and the forward momentum of competition. The fluid, brush-like strokes not only recall the gestural qualities of Chinese calligraphy, particularly cursive script, but also convey a sense of harmony, rhythm, and cultural continuity. The design can further be interpreted as resembling a dancer or a dragon, both potent symbols of welcome, auspiciousness, and national identity in Chinese culture.\r The emblem’s dominant red color symbolizes prosperity, good fortune, and celebration, while the integrated typography—“Beijing 2008”—and the five interlocking Olympic rings anchor the composition within the international visual language of the Olympic movement. By harmonizing indigenous cultural elements with global iconography, the logo achieves a visual and conceptual dialogue between local identity and worldwide recognition, reflecting the ethos of the Olympic Games as a unifying, cross-cultural event.\r Overall, “Dancing Beijing” exemplifies the capacity of contemporary emblematic design to translate historical, calligraphic, and symbolic references into a modern visual identity, capable of conveying both movement and meaning to a global audience."""@en ; write:hasChineseConcept ; write:hasColophon false ; write:hasDecorativeArtworkType ; write:hasSeal false ; write:hasUnit , , ; sch:image ; write:vectorisedOrDigitised true . a wd:Q215627 ; wdt:P103 ; wdt:P2561 """Yan Binghui 阎秉会\r """ ; wdt:P27 ; wdt:P937 ; write:description "Yan Binghui (b. in Tianjin in 1956) is Professor at the Tianjin Academy of Fine Arts, member of the Chinese Calligraphers Association, Executive Director of the Chinese Modern Painting and Calligraphy Society, and member of the Chinese Artists Association. He was one of the organizer together with Pu Lieping, Wei Ligang, and Chu Sang of the 1999 exhibition \"Bashu Parade\"." . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Blackism No. 1 (黑色主义之一)"@en, "黑色主义之一"@zh, "Hēisè zhǔyì zhī yī"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P186 , ; wdt:P2048 "68.9 cm" ; wdt:P2049 "70 cm" ; wdt:P462 , ; wdt:P571 "1990"^^xsd:gYear ; wdt:P608 ; sch:thumbnailUrl ; write:description """In Blackism No. 1, Luo Qi departs from traditional calligraphy and focuses on the brushstrokes rather than the characters' meaning. He replaces the conventional pointed brush with a wide, flat brush producing bold forms. Luo Qi creates a piece with dynamic, abstract forms that echo the styles of Western abstract artists like Franz Kline and Robert Motherwell. The work reveals the combined influence of Western modernism, Japanese calligraphy, and contemporary Chinese art. It captures a decisive turning point in Chinese calligraphic practice in the late 1980s and early 1990s.\r Blackism No. 1 belongs to the Chinese Avant-Garde movement that emerged in the mid-to-late 1980s. Although the artwork originates from a traditional Chinese character, Luo Qi deliberately disrupts the conventional stroke order, rendering the character unreadable. This transformation shifts the work from "calligraphic" to "abstract". The disappearance of the legible sign leads to an inevitable loss of meaning. """ ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q464980 ; wdt:P10661 , , , ; wdt:P1476 "Brushed Voices: Calligraphy in Contemporary China"@en ; wdt:P1640 ; wdt:P276 , ; wdt:P580 "1998-04-15"^^xsd:date ; wdt:P582 "1998-06-06"^^xsd:date ; wdt:P664 ; write:description """"Brushed Voices: Calligraphy in Contemporary China" represents the first important exhibition of contemporary Chinese calligraphy outside China. It was held from April 14 to June 6, 1998 at the Miriam & Ira D. Wallach Art Gallery of the Columbia University. In the exhibition, curated by Zhang Yiguo, 64 works by more than 20 leading calligraphers from the People's Republic of China were displayed. The exhibited artists included Bai Di, Han Tianheng, He Yinghui, Liang Yang, Liu Bingsen, Liu Tianwei, Liu Wenhua, Liu Zhengcheng, Luo Qi, Ouyang Zhongshi, Shao Yan, Shen Peng, Sun Boxiang, Sun Xiaoyun, Wang Dongling, Wang Xuezhong, Wang Yong, Wang Youyi, Zhang Daoxing, Zhang Qiang, and Zhou Huijun.\r According to Zhang Yiguo, the exhibited artworks exemplies the two main trends of contemporary calligraphy: "The first is marked by the revitalization of traditional methods. [...] The second trend is the so-called modern calligraphy (xiandai shufa), which departs radically from traditional methods." (Zhang 1998, 5). This second trend can be divided into two main currents: "paintinglike calligraphy" and "non-character calligraphy" (ibid, 19-20). Representative artists of the first trend are Wang Youyi, Liu Wenhua, Sun Boxiang, Liu Zhengcheng, and Shen Peng. Rpresentative artists of the second trend are Wang Yong, Zhang Daoxing, Shao Yan, Luo Qi, Wang Dongling and Zhang Qiang. """ ; write:exhibitedArtwork , , . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "XL: S 05 (一比特: S 05)"@en, "一比特: S 05"@zh, "Yī bǐtè: S 05"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , ; wdt:P2048 "55 cm" ; wdt:P2049 "55 cm" ; wdt:P462 , , , , ; wdt:P571 "2009"^^xsd:gYear ; wdt:P608 ; wdt:P941 ; write:description "“XL: S 05” is one of the 25 panels from Feng Mengbo’s “XL” series (2009), presented in the small format (50 x 50 cm). Drawing inspiration from 1-bit pixel art, the series includes \"classical works of brush painting and calligraphy reduced to one-bit form, the smallest amount of information processed by computer software, the most primitive possible code, and silkscreened onto silver-leaf panels\" (Solomon 2010). In “XL: S 05”, the artist transforms the complex calligraphic forms (Chinese characters and seals) of the opening section of \"Cursive Calligraphy of Four Ancient Poems\" (Gu shi si tie 古诗四帖) by Zhang Xu 张旭 (685–759) into an abstract composition of reduced printed black pixels on a surface made of silkscreen print on silver leaf. Using extreme digital reduction, the artist replaces the classical aesthetics of brushstrokes and seals into pixelated forms. This reinterpretation of the methods of ancient literati within the logic of the digital age creates a new visual syntax that, while nearly illegible, retains the essence and spirit (shenyun 神韵) of the original cursive script and bridges the gap between classical Chinese art, digital art, and contemporary media." ; write:hasVisualArtworkType , , , ; write:hasColophon false ; write:hasSeal false, true ; write:hasUnit ; write:usesArtwork ; write:vectorisedOrDigitised true . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Double Hook and Simple Heart (双钩素心)"@en, "双钩素心"@zh, "Shuānggōu sùxīn"@zh-Latn ; wdt:P170 ; wdt:P180 , , , , , , , , , , , , ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2010"^^xsd:gYear ; wdt:P608 ; wdt:P941 ; write:derivesFrom ; write:description """"Double Hook and Simple Heart"(Shuanggou suxin 双钩素心) is an artwork realized by Hua Jun in 2010. The artist merges traditional Chinese calligraphy with contemporary concerns about waste and sustainability. His work engages directly with environmental themes. In the early spring of 2010, during the Qingming Festival, Hua Jun visited the Tianzilin landfill in Hangzhou, where a hill had been formed from 18 years of accumulated city waste. On this site, he applied the traditional double-hook (shuanggou 双钩) technique to write eight characters from the Heart Sutra (Xinjing 心经): bu sheng bu mie, bu zeng bu jian 不生不灭.，不增不减 ('Neither born nor perishing, neither increasing nor decreasing') on eco-friendly covering film. Guided by his mentor Wang Dongling, Hua Jun integrated the landfill into his artistic process. The contrast between calligraphy and garbage sharpens his questioning of "human traces" and the relationship between cultural heritage and environmental degradation. The title of this artwork reflects its method and meaning. "Double-hook"(Shuanggou 双钩) refers to a traditional calligraphic method used to outline characters with precise, slender lines before filling them in. Often employed to replicate ancient calligraphy, the technique is here left unfinished. Hua Jun outlines the eight large characters but deliberately leaves them empty. This absence suggests impermanence and ephemerality. The second part of the title, "Simple Heart" or "Pure Heart" (Suxin 素心) evokes Buddhist ideals: sincerity, simplicity, and spiritual clarity. The artist uses calligraphy on biodegradable material at a garbage site further reinforces the contrast between accumulation (waste) and emptiness (pure heart). The Heart Sutra’s core message, i.e. existence and impermanence, resonates through the work. The realization of this work was documented in a 7-minute and 12-second video, exhibited at "Shu Fei Shu — 2010 Hangzhou International Modern Calligraphy Art Exhibition" in 2010.\r Building on this approach, Hua Jun created "Garbage Diary (Laji Riji 垃圾日记)" in 2012. This series of paintings (68 cm x 138 cm) was made from garbage and discarded materials. Through these works, he critiques the environmental consequences due to the rapid industrialization, mass consuption and urbanization in China. Repurposing trash as medium, he challenges notions of permanence and value. Also in 2012, he performed “Non-Born, Non-Destructed, Non-Pure, Non-Impure, Non-Increased, Non-Decreased (bu sheng bu mie, bu gou bu jing, bu zeng bu jian 不生不灭，不垢不净，不增不减). The artist used ashes from waste as his material. By touching and moving through these remains, he showed key ideas from Buddhist thought. Ashes are both what is left after destruction and a sign of purification.""" ; write:hasVisualArtworkType , , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Rubbing Drought (拓印干旱)"@en, "拓印干旱"@zh, "Tà yìn gānhàn"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , , , ; wdt:P186 , ; wdt:P2048 "79 cm" ; wdt:P2049 "140 cm" ; wdt:P462 , ; wdt:P571 "2009"^^xsd:gYear ; wdt:P608 ; sch:thumbnailUrl , ; write:description "\"Rubbing Drought\" is a conceptual work by Wang Nanming. It addresses social and ecological issues in China. In February 2009, parts of central China suffered a severe drought. Xiliu Lake in Zhengzhou, once the city's main water reservoir, dried up. Its bed cracked under the heat. Wang used rice paper and the traditional tayin 拓印 technique (rubbing) to capture those fissures. Using cotton pads wrapped in cloth, called \"rubbing pad\" or \"rubbing pouch\" (tabao 拓包), he imprinted the cracks. He thus turned the drought’s physical marks into a visual record. The work consists of a variable number sheets, each measuring 140 x 79 cm. It belongs to Wang's Ecological Trilogy (shengtai zuopin sanbu qu 生态作品三部曲). It was exhibited during \"Ta Yin Drought: Wang Nanming Solo Exhibition\" (2012)." ; write:hasVisualArtworkType , , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image , . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Elvis 猫王 " ; wdt:P27 ; wdt:P361 ; wdt:P800 ; wdt:P937 ; write:description """Elvis, known as "The Unabated Vandal" (No Apologies 3, 188) has made a name for himself in the urban art scene through his relentless and raw style. His graffiti can best be described as anarchic and rebellious, often drawing comparisons to the intensity of "being in a mosh pit while the Dead Kennedys perform I Fought the Law" (No Apologies 3, 168) . His work stands out for its unapologetic crudeness, a stark contrast to the gentrified streets where it often appears, turning these sanitized areas into canvases for his audacious tags.\r Elvis's approach to graffiti is defined by its quantity and audacity. His tags dominate the urban landscape, especially in China, where he doesn't concern himself with creating aesthetically pleasing pieces. Instead, his goal is to leave as many marks as possible, wherever he can. His persistence and stamina are unmatched by most graffiti artists in the region, making him a ubiquitous presence in cities like Guangzhou.\r Interestingly, Elvis’s alias, Mao Wang 猫王 (The Hillbilly Cat), nods to the cultural collision between Chinese and Western influences. Guangzhou, his home province, has historically been one of the first Chinese cities exposed to American pop culture. Although Elvis acknowledges some subtle influence from Western culture, he insists that the origin of graffiti matters less to him than the fact that he continues to create without pause or compromise.\r A distinctive aspect of Elvis's work is his experimentation with traditional Chinese calligraphy, particularly the ancient script known as jiaguwen 甲骨文 (oracle bone script). His style has been deeply influenced by classical Chinese calligraphic works, drawing inspiration from Yanghuáibiao jì 杨淮表记 (The Record of Yang Huai), from Sanshi pan 散氏盘 (Sanshi Disk), and the Guangwu jiang jun bei 广武将军碑 (Guangwu General Monument). These ancient forms have shaped his graffiti, lending his work a sense of depth and a nod to China's rich cultural heritage.\r The use of jiaguwen (oracle bone script) and the personification or zoomorphism in his works also evokes the style of Keith Haring.\r Elvis also extends his artistic expression into tattooing, where the connection between Chinese culture and traditional motifs is evident. He finds inspiration in the naive folk-art traditions and integrates these influences into his tattoo designs, aiming to bridge the ancient allure of Chinese culture with modern interpretations.\r Elvis is a prominent member of the GB (Ge Bang, Pigeon Gang) crew, a collective that merges illegal graffiti with underground music and cultural events. The group consists of a diverse set of individuals, including graffiti artists, tattooists, photographers, skaters, and even finance professionals. Their low-profile presence adds to their mystique, with members rarely showing their faces publicly, creating a sense of an underground movement operating in the shadows.\r When discussing the rapid gentrification of Chinese cities, Elvis is philosophical. He doesn't see his graffiti as reshaping the city but rather views the city as an evolving force that constantly challenges his work. In this sense, his pieces are personal expressions that struggle against the erasure brought on by urban development. He paints continuously to counteract this impermanence, knowing that graffiti is fleeting by nature.\r Among his influences, Elvis frequently cites TIE (RIP) from San Francisco, whose spirit and rebellious energy continue to guide him. Despite his admiration for other graffiti artists, Elvis remains indifferent to the broader graffiti scene, focusing instead on his personal expression and the thrill of seeing his tags on the streets.\r Elvis's work in Guangzhou and Hong Kong has connected him with like-minded local artists who share a dedication to graffiti as a serious art form. He admires the caution and commitment with which Hong Kong writers approach their craft, contributing to a dynamic exchange between the two cities’ urban art communities.\r For Elvis, the journey of graffiti is as significant as the destination. He finds joy in the act of painting, often recounting memorable nights spent tagging the streets and then relaxing under a giant statue of Mao in Changsha with his friends. His dedication to graffiti is not just about leaving a mark on the world but about the camaraderie and shared experiences that come with it."""@en ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:hasTag "Elvis"@en, "猫王 "@zh, "Māowáng"@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Dongbay 東北 " ; wdt:P27 ; wdt:P361 ; wdt:P569 "1996"^^xsd:gYear ; wdt:P800 ; wdt:P812 ; wdt:P937 , , ; sch:thumbnailUrl ; write:description """Dongbei 東北 (Dongbay) writes graffiti tags such as ASKO, LEEX, and TOTEM. The tag ASKO is a playful reference, a shortened form of “Taba 她爸ASKO,” which sounds like “TABASCO” but means “Her Daddy ASKO.” The tag "Dongbei 東北 (Dongbay)" holds special significance in a Chinese context. It refers to Northeast China, a vast region whose people are often generalized as "North-easterners" without making distinctions about their specific origins, unlike other regions in China. Historically, this area carries complex connotations—its ruggedness and rough cultural identity contrast with traditional Chinese philosophies like Confucianism and Taoism. Yübo, having left the Northeast at an early age, finds humor and paradox in this identity and uses "Dongbei 東北 (Dongbay)" as both a personal code and a reflection of his life's experience.\r Yübo has been part of several crews, including YDS, 2G, GB, Yellow Peril, LateNiteStars, and HEX. Though he currently lives in Beijing and spends much of his time there, he leads a nomadic lifestyle. His artistic journey took shape in New York City, where the competitive graffiti scene had a lasting impact on him. Although Beijing and Shanghai are central to his life now, Yübo finds the graffiti scene in these cities lacking. He prefers Guangzhou for its vibrant graffiti culture and hopes to visit more often.\r Yübo started engaging with graffiti during high school, initially drawn to its rebellious nature. In a stressful academic environment, graffiti provided an outlet for resistance and escape. His real engagement with graffiti began in college, where he met other graffiti writers and started developing his style more seriously.\r He describes his graffiti as a spontaneous, hit-and-run sport rather than an artistic pursuit, though he acknowledges the artistic elements that inevitably come with it. His style and process are shaped by personal habits, sketches, and experiments from other artistic fields, mostly improvising without the use of a formal sketchbook.\r Graffiti, for Yübo, serves primarily as a source of enjoyment and personal meditation amid the anxieties of urban life. It also allows him to connect with friends who live on the margins of society, which he finds refreshing.\r When asked about a potential "Chinese graffiti style," Yübo doesn’t fully embrace the idea. He points out that the graffiti scene in China is weak, with few devoted writers left. Western graffiti once had a significant influence on the Chinese scene, but many foreign writers have left due to visa, legal, or personal reasons. Chinese censorship and the quick removal of graffiti make it hard for writers to sustain their work. The risks of getting caught and jailed are high, and with fewer writers around to appreciate and recognize each other's contributions, graffiti has become less appealing. Many younger graffiti writers have shifted their activities to the internet, where they face fewer risks but gain more visibility.\r Yübo feels fortunate to count several devoted Chinese graffiti artists as his friends, including Ghettosino (2G/YP/KDG), SBAM (RSG), Zatuo 杂投 ZATO (2G/YIA/YP), Lingdan 灵丹 (KTS/KDG/YP), WRECK (KTS/KDG/YP), JOINTS (2G/KDG), SMOK (2G), KISH (MTS), ZEIT (2G/YP), ROMPER (2G/KDG/GB), and ELVIS (GB/HEX).\r Regarding Yellow Peril, Yübo mentions that there are over ten members, though he can only speak for the Beijing crew. Notable members include Lingdan 灵丹, Zatuo 杂投, and Qizi 漆仔, who were prominent in the city's graffiti scene before the formation of Yellow Peril. LIngdan 灵丹 founded the crew during the pandemic to unite graffiti writers who tag their names in Chinese. The crew has members spread across the world, from Europe to North and South America, many of whom don't speak or understand Chinese but continue to engage in this cultural practice."""@en ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:hasTag "ASKO"@en, "Dongbay"@en, "LEEX"@en, "Northeast"@en, "TOTEM"@en, "东北"@zh, "東北"@zh, "Dōngběi"@zh-Latn ; sch:image . a wd:Q17514 ; wdt:P1476 "Dongbei (东北)"@en, "东北"@zh, "東北"@zh, "Dōngběi"@zh-Latn ; wdt:P170 , ; wdt:P180 , ; wdt:P186 , ; wdt:P276 ; wdt:P462 , ; wdt:P571 "2022"^^xsd:gYear ; sch:thumbnailUrl ; write:description """The artwork "Dongbei 東北" was made in Beijing in 2022. In this masterpiece, Dongbay painted his large-scale tag in Chinese characters “Dongbei 東北” using only two colors: black and blue. The term Dongbei 東北, which means “northeast,” denotes the northeastern region of China that includes the provinces of Liaoning, Jilin, and Heilongjiang. The artist chose this tag because he comes from one of these provinces. Next to the large tag, whose characters are heavily reworked and shaped in squared forms as in small seal script (xiaozhuan 小篆), the characters Huanghuo 黄祸 (Yellow Peril, the name of his crew) are written on the right side in small characters, incorporating a subtle reference to the birds-and-worms script (niaochongshu 鸟虫书). The entire piece also alludes to the zhuanshu 篆书 (seal script) form of Daoist talismanic style in three ways: (i) by reproducing Daoist talismanic script (fulu 符箓 or fuwen 符文), characterized by symbols with twisted, irregular and elongated strokes that sometimes resemble Chinese characters, (ii) by decorating the strokes of the characters Dongbei 東北 with small blue circles that resemble talisman stars, and (iii) by adding decorative swirls to the strokes of Huanghuo 黄祸. The use of ornamental embellishments, such as squiggles and swirls, found in talismanic forms stand for a distinctly “Chinese graffiti style” of the New Era (2020-2024) that perhaps replaces the traditional three-dimensional arrows, tribal motifs, and spades typically associated with the wild style. The vertical alignment of the blue circles evokes the structure of bamboo strips (jiace 简册), traditionally used for writing in ancient China, serving as a visual reference to the orderly arrangement of these ancient writing materials. Simultaneously, the artwork seems to portray “war or combat robots”, particularly through the depiction of the three characters (dong 東, bei 北, huo 祸) with powerful legs firmly anchored to the ground, as indicated by the extension of the vertical strokes, and with arms that enhance the contrast between technological elements and the esoteric, magical qualities associated with talismans. \r The lettering of the tags "2G" and "YP" evokes “pixação graffiti", a form of graffiti that originated in Brazil, particularly in São Paulo, characterized by a distinctive, cryptic style of lettering. It often features tall, thin, angular letters painted in black or other dark colors on buildings, walls, and other public spaces, typically in hard-to-reach places. \r Beyond the contrast between the themes of robotics and magic, this graffiti is characterized by other correlated elements: (1) the harmonious juxtaposition of Chinese characters 東北 in the center and 黄祸 on the left and Latin letters “2G”, the name of another crew Dongbay is part of, on the left, and "YP" for “Yellow Peril” on the right; (2) the integration of seal script with the graphic style of talismans; (3) the interplay between graffiti and traditional calligraphy; (4) the uncommon combination of black and blue, which are rarely paired together; and (5) the use of the compound word Dongbei 東北 (“northeast”) which indicates two different directions (north and east). Collectively, these contrasting elements create a sense of harmony, a “harmony within diversity,” reminiscent of the balance between yin and yang that permeates traditional calligraphy. """@en ; write:hasChengyu false ; write:hasColophon true ; write:hasGraffitiGenre ; write:hasGraffitiStyle , ; write:hasGraffitiType , ; write:hasSeal false ; write:hasUnit , ; sch:image ; write:madeUsingTool . a wd:Q17514 ; wdt:P1476 "Elvis (猫王)"@en, "猫王"@zh, "Māo wáng"@zh-Latn ; wdt:P170 , ; wdt:P180 ; wdt:P186 , ; wdt:P276 ; wdt:P462 , , , ; wdt:P571 "2022"^^xsd:gYear ; wdt:P6375 "University Town, Guangzhou"@en ; write:description """The artwork “Elvis (Mao wang 猫王)” was created by the artist Elvis between 2021 and 2022 at Guangzhou University Town. In this piece, Elvis merges playful humor and cultural commentary by writing his tag, "Mao Wang 猫王," in Chinese characters using a black outline and a white fill-in. The name Mao Wang 猫王 translates to “Cat King” in English, a whimsical nod to "The King of Rock 'n' Roll," Elvis Presley. By blending the term mao 猫 (meaning “cat”) with wang 王 (meaning “king”), Elvis both adapts and localizes the legendary moniker, injecting a lighthearted twist into the tag.\r The inscription sits on a "non-fully aligned hanzigezi 汉字格子 grid," a structure traditionally used for practicing Chinese calligraphy. By deliberately diverging from the grid while tracing the characters, the artist conveys a desire to break free from established rules and constraints, perhaps a metaphor for artistic and cultural liberation. The grid not only functions as a physical backdrop but also as a symbolic reference to traditional forms of control and regulation.\r Elvis writes the character mao 猫 using small seal script (xiaozhuan 小篆), a style known for its childlike, primitive, and pictographic qualities. This stylistic choice evokes ancient Chinese calligraphy while imbuing the character with a playful, naive quality. In an interview, Elvis discussed how Oracle bone script (jiaguwen 甲骨文) influenced his character style, pointing to a deeper engagement with ancient writing systems (No Apologies 3, 2021).\r A creative interpretation of radicals (key components in Chinese characters) is also present in the work. Elvis personifies the radical "quan 犭," which means “dog,” by integrating a “head” into the design. The figure is shaped to resemble a living creature with a head, legs, and a tail, though the head’s round shape feels more human than canine, subtly blending the animal and human worlds. Another notable element is the radical cao 艸 (grass), which is placed near the head of the figure, with one tuft of grass overturned. This balances the composition both visually and semantically, suggesting an underlying tension between nature and humanity.\r The background of the artwork is green, reminiscent of a natural field. The radical tian 田 (meaning "field") appears in the bottom right corner and is stylized as a pictographic wheel, reinforcing the connection between the natural world and human intervention. This contrast between the green background and the gray wall upon which the grid and characters are placed speaks to themes of Nature versus Control, with natural elements overflowing beyond the grid while the character wang 王 (“king”) is contained within a rigid, orderly structure.\r The character wang 王 itself is written in a style reminiscent of Jian-du 简牍, the script used on ancient bamboo or wooden slips (zhujian 竹简 and mudu 木牍, respectively). These characters, originally inscribed on Qin dynasty bamboo slips, often followed the style of Oracle bone and bronze inscriptions, linking Elvis’s work to both ancient and more contemporary forms of calligraphy. In this context, the wang 王 character symbolizes power, authority, and containment, a contrast to the free-flowing natural elements represented by mao 猫.\r In the upper left corner of the piece, the characters “Huanghuo 黃禍” (Yellow Peril) appear in traditional script, with certain components written in small seal script. Their placement evokes a colophon, similar to the artist’s signature in traditional calligraphy, like in large-character calligraphic works (dazi大字).\r This subtle addition invites the viewer to contemplate the broader implications of the work—potentially hinting at veiled political themes such as censorship, authority, and cultural identity. By combining humor, history, and social commentary, Elvis creates a multifaceted piece that engages viewers both visually and intellectually."""@en ; write:hasChengyu false ; write:hasColophon true ; write:hasGraffitiGenre ; write:hasGraffitiStyle , ; write:hasGraffitiType , ; write:hasSeal false ; write:hasUnit , ; write:madeUsingTool . a wd:Q184485 ; wdt:P1132 2 ; wdt:P1303 ; wdt:P1476 "Flute Melodies, Flowing Water, Writing Calligraphy (箫声 · 流 水 · 书写)"@en, "箫声 · 流 水 · 书写"@zh, "Xiāo shēng · liúshuǐ · shūxiě"@zh-Latn ; wdt:P175 , ; wdt:P180 , , "fusion between humans and nature" ; wdt:P186 wd:Q127418, wd:Q37681 ; wdt:P276 ; wdt:P585 "1997-11-01"^^xsd:date ; write:calligrapher ; write:description "Zhu Qingsheng and Zhang Weiliang had a small dwelling near a stream that flows on Mount Huairou (near Beijing). Wearing a cloak of straw (suoyi 蓑衣) and a bamboo hat (douli 斗笠) and bringing with them paintings, calligraphies, and musical instruments, they wanted to look like people returning to their native village. Then, with the aid of a bamboo flute (xiao 箫), calligraphy and a silk scroll, they reproduced a banquet of literati: Zhang Weiliang played the flute, which does not sing melodies but reproduced the sound of water flowing and breaking on the boulders; in the meanwhile, Zhu Qingsheng wrote a calligraphy poem on the silk scroll suspended on the stream, that soaked it. Only the parts of the scroll that lay on the rock kept traces of ink; on those that instead sank in the stream, Zhu Qingsheng wrote directly in the water that washed away the ink. As a result, the “absorbed” characters had been taken away and only the soaked silk scroll remains." ; write:hasMusicStyle ; write:hasPerformingArtworkType ; write:hasUnit ; write:madeUsingTool wd:Q614467 . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "The Genetics of Reading Image (读图的基因)"@en, "读图的基因"@zh, "Dú tú de jīyīn"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , ; wdt:P186 ; wdt:P2048 "100 cm" ; wdt:P2049 "145 cm" ; wdt:P2610 "2,4 cm" ; wdt:P571 "2021"^^xsd:gYear, "2022"^^xsd:gYear ; wdt:P941 ; write:description """Since 2004 with the on-going project Book from the Ground, Xu Bing have realized texts that everyone in the world can understand using public symbols. The artist emphasize the disconnection between the new generation with new globalized forms of expressions, such as symbols, emojis, memes, etc. In this artwork, Xu Bing translates the "Orchid Pavilion Preface" (Lanting ji xu 兰亭集序) in this visual way displayed through multicolor screen prints on 8 birch wood panels measuring 145 x 100 x 2.4 cm. As declared in his article in Wechat (2022), "while viewers may not be used to this yet, this unfamiliarity introduces a new "element of thought" to conventional thinking, which is precisely the intention of this artwork. This enables a better understanding of our traditional culture as well as contemporary culture." Xu Bing also highlights the semiotic relationship between calligraphy and pictographic art, suggesting that they share a common origin in symbolic communication.\r """ ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit , ; write:vectorisedOrDigitised true . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Sound MAP - Artwork 2"@en ; wdt:P170 ; wdt:P180 ; wdt:P186 , ; wdt:P2048 "1200 cm" ; wdt:P2049 "70 cm" ; wdt:P462 , ; wdt:P571 "2023-10-12"^^xsd:date ; wdt:P608 ; wdt:P88 ; wdt:P941 ; sch:thumbnailUrl ; write:derivesFrom ; write:description "This artwork was created during the last part of the performance \"Sound MAP (Musicalligraphy Augmented Performance)\" held on October 12, 2023 at the International Musuem and Library of Music in Bologna during the opening of the exhibition “Sounds of Ink: Luo Qi and 30 Years of Calligraphyism” (12 October – 5 November 2023). The Italian calligrapher Silvio Ferragina wrote the 18 characters \"Fu zhi zai shan shui, qin biao qi qing, kuang xing zhi bi duan, li jiang yan ni 夫志在山水，琴表其情，况形之笔端，理将焉匿\" (If it is possible for a man’s impressions of mountains and rivers to find expression in his lute playing, how much easier it must be to depict physically tangible forms with a brush, from which no inner feeling or idea can be successfully hidden) from the classical literary work entitled “The Literary Mind and the Carving of Dragons” (Wen xin diao long 文心雕龍) by Liu Xie 劉勰 (ca. 465–522), using seal script and its pictographic forms. During the execution of the artwork, the pianist Giusy Caruso was playing a musical score (with also improvisations) that is the translation in music of the strokes of those characters, so that the calligrapher and the musician played simultaneously the same “musicalligraphic score”. The characters were also projected on a screen placed in the background of the stage and deformed on the basis of the calligrapher’s wrist movement thanks to a sensor placed on the brush. " ; write:hasVisualArtworkType ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P180 , , , , , ; wdt:P186 , ; wdt:P282 , ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 Sound MAP (signs)" ; write:description "This CWU is part of the artwork created by Luo Qi during the performance “Sound MAP (Musicalligraphy Augmented Performance)”, that was held on 12 October 2023 at the “International Museum and Library of Music” in Bologna during the opening of the exhibition “Sounds of Ink: Luo Qi and 30 Years of Calligraphyism” (12 October – 5 November 2023). It consists of the translation of the music the artist heard during the performance into concatenations of calligraphic signs inspired by the oldest Chinese musical notation system, the “Dunhuang musical score” (Dunhuang qupu 敦煌曲谱). Most of Dunhuang musical scores are very simple Chinese characters or component parts characters. The artist reshaped these signs according to his personal and original interpretation and transforming it into a “visual and visible musical score,” strongly rhythmic and dynamic, with an inextricably calligraphic thread. The music that inspired the work was improvisational music played by pianist Giusy Caruso, who was in turn inspired by the calligrapher's gestures. " ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasColophon true ; write:hasSignificance "Meaningful writing", "Set of signs (illegible)" ; sch:image ; write:isUnitOf , ; write:madeUsingTool ; write:relatedUnit , . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 3 Sound MAP (夫志在山水...)" ; write:description "This CWU consists of the characters written on the long scroll calligraphed at the end of the performance \"Sound MAP (Musicalligraphy Augmented Performance)\" held on October 12, 2023 at the International Musuem and Library of Music in Bologna during the opening of the exhibition “Sounds of Ink: Luo Qi and 30 Years of Calligraphyism” (12 October – 5 November 2023). The author of this artworks is the Italian calligrapher Silvio Ferragina. During the perfromance, he wrote 18 written characters: \"Fu zhi zai shan shui, qin biao qi qing, kuang xing zhi bi duan, li jiang yan ni 夫志在山水，琴表其情，况形之笔端，理将焉匿\" (If it is possible for a man’s impressions of mountains and rivers to find expression in his lute playing, how much easier it must be to depict physically tangible forms with a brush, from which no inner feeling or idea can be successfully hidden) from the classical literary work entitled “The Literary Mind and the Carving of Dragons” (Wen xin diao long 文心雕龍) by Liu Xie 劉勰 (ca. 465–522), using seal script and its pictographic forms. Simultaneously, the pianist Giusy Caruso played a musical score (with also improvisations) that is the translation in music of the strokes of those characters and the characters were projected and deformed on a screen placed in the background of the stage. "@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 18 ; write:relatedUnit , ; write:transcriptionAndTranslation "If it is possible for a man’s impressions of mountains and rivers to find expression in his lute playing, how much easier it must be to depict physically tangible forms with a brush, from which no inner feeling or idea can be successfully hidden"@en, """夫志在山水，\r 琴表其情，\r 况形之笔端，\r 理将焉匿"""@zh, """Fū zhì zài shānshuǐ, \r qín biǎo qí qíng, \r kuàng xíng zhī bǐduān, \r lǐ jiāng yān nì"""@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Yin Mei 殷梅" ; wdt:P27 ; wdt:P453 , ; wdt:P800 ; wdt:P812 , ; wdt:P937 ; write:description "Yin Mei was born in the city of Zhenjiang, Jiangsu province. She is a category-defying director, choreographer, and performance artist, now based in New York City. She began her professional career in traditional Chinese dance during the Cultural Revolution (1966-1976), joining a leading regional dance company at the age of thirteen. She was trained in Chinese court and folk dance, Peking Opera, martial arts, Taiji, and other traditional Asian dance forms. Arrived in the USA in 1985, Yin Mei desires to express and discover herself. While studying at New York University, she encounters various forms of contemporary dance, following famous teachers such as Ohad Naharin, and the modern dance scholar and critic Deborah Jowitt (b.1934). Since from 1990s, Yin Mei starts to collaborate with a lot of artists to create works and in 1995, she finally creates her company: the Yin Mei Dance."@en ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:hasWikidataResource ; write:isCalligrapherOf . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Iron 鐵" ; wdt:P27 ; wdt:P569 "1989"^^xsd:gYear ; wdt:P800 , ; wdt:P812 ; wdt:P937 ; write:description """IRON, a graffiti artist based in Xi'an, combines his expertise in traditional Chinese calligraphy with contemporary Gothic influences to create a unique style known as "Modern Gothichinese Calligraffiti (Zhongwen Gete Shufa 中文哥特书法)." Graduating from the Xi'an Academy of Fine Arts, IRON has developed a career as both a tattoo artist and a graffiti writer. His work primarily focuses on the fusion of Chinese characters with Western Gothic aesthetics, highlighting the distinct possibilities of Chinese as a language of expression in urban art.\r IRON began his graffiti journey in 2009, vividly recalling the thrill and nervousness of his first spray-paint experience. His early work was a reflection of youthful rebellion and emotional release. Over time, he honed his technique, not seeing technical skills as the primary challenge but rather as something that evolves with time and practice.\r His style is defined by its focus on Chinese wildstyle and modern Gothic calligraphy, often incorporating words that convey his current emotions, personal messages, or lines from his favorite poems. For IRON, language serves as both a tool and a cultural bridge, creating links between traditional Chinese characters and the visual elements of Western Gothic styles.\r He emphasizes that "Chinese graffiti style" is shaped by the cultural and linguistic logic inherent in Chinese characters, which goes beyond mere decorative elements. His approach values thought and creativity, aiming to stimulate both the mind and the visual senses. IRON appreciates the regional variations in graffiti styles worldwide, such as the contrasts between American and European graffiti, and within different areas of the United States.\r If he were to define his artistic approach, he would label it as "Modern Gothichinese Calligraffiti," emphasizing a style that blends tradition with innovation while highlighting the unique characteristics of Chinese script."""@en ; write:hasCalligraphicTraining "School"@en, "Self-Taught"@en ; write:hasTag "IRON"@en, "鐵"@zh, "Tiě"@zh-Latn . a wd:Q17514 ; wdt:P1476 "X-Evolution"@en ; wdt:P170 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P2048 "2.5 m"@en ; wdt:P2049 "5 m"@en ; wdt:P276 ; wdt:P462 , , ; wdt:P571 "2023"^^xsd:gYear ; sch:thumbnailUrl ; write:description """This artwork, titled "X-evolution," was created by TxT in 2023 near Reggio Emilia. It features three large black Xs (asterisks), each accompanied by a red "TT" tag/seal (the second X has two seals), forming the tag "TxT" together, all set against a yellow background.\r The artwork was executed on the surface of a train, specifically on the train doors.\r Each "X" is depicted in a different evolving style: the first evokes regular script (kaishu) and appears straight; the second begins to exhibit a brushstroke effect at the end of the stroke, while the third resembles a calligraphic inscription made with brush and ink. \r The artist explains (interview with Bisceglia 2024) that he was motivated by qi 氣 (vital energy), and that in the third X, the qi was free.\r "Qi 氣" relates to the Chinese cultural concept of "vital energy", "vital force", "material energy", or "simply energy". In the traditional Chinese concept, qi is recognized as da qi 大氣 (great energy or energy of the macrocosm) and xi qi 吸氣 (breath). Originally, the da qi would have descended, giving birth to the earth; so the rain is understood as the "qi of the earth", which, becoming rarefied, would have risen, giving birth to the heaven. The human being, who is between heaven and earth, has both manifestations of da qi: the heavier one forms the body, the lighter one forms the heart. The idea of qi is also connected to another fundamental traditional Chinese concept, that of xing 行 (phase, process). The concept of the wu xing 五行 (five elements, more precisely defined as "the five processes") describes nature as the set of the five elements that compose it (fire, water, metal, wood and earth) and as a consequence of the relationships that occur between them."""@en ; write:hasChengyu false ; write:hasChineseConcept , ; write:hasChineseVisualElement ; write:hasColophon false ; write:hasGraffitiGenre ; write:hasGraffitiStyle , , ; write:hasGraffitiType , , ; write:hasSeal true ; write:hasUnit , , ; sch:image ; write:madeUsingTool , . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Status VII (状态VII)"@en, "状态VII"@zh, "Zhuàngtài VII"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , ; wdt:P186 , ; wdt:P2048 "42 cm (each)" ; wdt:P2049 "38 cm (each)" ; wdt:P462 , ; wdt:P571 "2003"^^xsd:gYear ; sch:thumbnailUrl , , , ; write:description """Status VII consists of 48 sheets, each measuring 42 × 38 cm. The artist creates dynamic structures composed of abstract lines similar to calligraphic strokes that evoke the visual appearance of Chinese characters without forming readable text. \r Each of them presents a dense configuration of interwoven black lines concentrated within a compact pictorial field, as the brushstrokes overlap and intersect, generating a sense of tension and movement that guides the viewer's eye across the surface.\r The work investiages the status/condition of writing beyond its linguistic function, transforming calligraphic marks into autonomous and pure visual form of expression. These works exemplify the fusion of calligraphy and abstraction, showing the wide range of expressive potential of the calligraphic line, its plasticity and rhythm. Building on these works, in 2024 Qiu created a group of iron sculptures entitled Status (Zhuangtai 状态), translating the movement and structural logic of the brushstrokes into three-dimensional space. """ ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image , , , ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Not Too Late - Orchid Pavilion Preface (不太晚 - 兰亭序) "@en, "不太晚 - 兰亭序"@zh, "Bù tài wǎn - Lántíng xù"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2012"^^xsd:gYear ; wdt:P608 ; write:description "From the video piece “Not Too Late\" (2010), Feng Mengbo created a series of ink and mixed-media paintings and works on paper, capturing isolated moments from the video and transferring them to canvas and paper. \"Not Too Late - Orchid Pavilion Preface“ is part of this series. It is characterized by the transcription of an excerpt of the Orchid Pavilion Preface written with ink on one frame of the original video. This work together with the others of the same series were first displayed in the exhibition \"Not Too Late - Recent Works by Feng Mengbo\" at Chambers Fine Art Gallery in Beijing in 2012, and subsequently in New York in 2013." ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool ; write:usesArtwork . a wd:Q7725310 ; wdt:P1071 , ; wdt:P1476 "Digital (数码)"@en, "数码"@zh, "Shùmǎ"@zh-Latn ; wdt:P170 ; wdt:P580 "2002"^^xsd:gYear ; write:description """The inspiration for the creation of the series of works titled "Shuma" (2002-ongoing) originated from the theme of the exhibition “Zero: Material Art Exhibition” (Ling: cailiao yishuzhan 零·材料艺术展) held in Paris in the autumn of 2002. While smoking in his studio, the artist accidentally dropped cigarette ash onto a sheet of rice paper, which slowly burned by the residual heat. The resulting burns left traces that revealed additional patterns. Wang, then, started to explore the expressive and desctructive potential of fire as a tool for mark-making in an entire series of works, titled "Digital", in which ink and burns interact to create layered compositions. \r Each work of this series typically consists of two or more sheets of xuan paper layered one atop the other. The bottom sheet is inscribed with Chinese characters and fragmented legible texts. These inscriptions may include both Chinese characters and Latin letters in a multilingual text order with inverted orientations or flipped structures of characters and letters, creating a multilingual visual field. In some cases, there is an incorporation of Chinese landscape painting elements (shanshui hua 山水画). The upper sheet is made of semi-translucent paper, on which an inscription using cigarette ash or incense is made, echoing calligraphic strokes. This second layer is overlapped on the first layer revealing "flickering glimpses of the inked and uninked surfaces that are otherwise only dimly visible below" (Hearn 2014: 61) creating an expressive interplay of light and shadow, enriching the ink's depth and the transparency of the characters. The title "Shuma" translates to "digital" and reflects how the various layers convey diverse visual information, in a similar way to the gathering and transmission of data in digital systems. \r According to the artist, this process "resemble that of burning information onto DVDs and digital divres ― hence the title of this series. Appropriately, each work is identified using letters and digits that resemble a serial number or computer code to give the date, format, and number within the series. Thus, Digital No. 02HP01-03 may be read as 2002: hanging paintings one through three" (Hearn 2014: 61).\r In the exhibition "Tiande Remanufacturing" (Tiande zai zhizao 天德再制造), the curator Zheng Shengtian 郑胜天 , through an analysis of numerous historical allusions, explored the cultural background to illustrate the power of words and the religious consciousness associated with the incineration of written paper.""" ; write:includesArtwork . a wd:Q464980 ; wdt:P10661 , , , , , , ; wdt:P1476 "Inside Out: New Chinese Art (新中国艺术展─蜕变)"@en, "新中国艺术展─蜕变"@zh, "Xīn Zhōngguó Yìshù Zhǎn ─ Tuìbiàn"@zh-Latn ; wdt:P1640 ; wdt:P276 , , , ; wdt:P580 "1998-09-15"^^xsd:date ; wdt:P582 "1999-01-03"^^xsd:date ; wdt:P856 , ; write:description """The exhibition "Inside Out: New Chinese Art“ was held 15 September 1998 to 3 January 1999 held in association with Asia Society and the San Francisco Museum of Modern Art. Another title of the exhibition is "Inside Out: New Chinese from 1995 to 1998". The exhibition was presented simultaneously at Asia Society in New York and P.S. Contemporary Art Center (now MoMA PS1). It was curated by Gao Minglu and represented a survey of contemporary art from Chinese societies, representing 62 artists from Mainland China, Taiwan, Hong Kong, as well as those who have emigrated overseas. \r Participating artists included Cai Guo-qiang, Cao Yong, Chen Hui-chiao, Chen Shun-chu, Chu Chiahua, Fang Lijun, Fang Tu, Fang Weiwen, Geng Jianyi, Wenda Gu, Ho Siu-kee, Hong Hao, Hou Chun-ming, Huang Chih-yang, Huang Yong Ping, Kum Chi-Keung, Li Shan, Shu-Min Lin, Lin Tian-miao, Liu Wei, Liu Xiangdong, Long-Tailed Elephant Group (members Lin Yilin, Chen Shaoxiong, Liang Juhui, Xu Tan), Ma Jian, Ma Liuming, Phoebe Man, Mao Xuhui, New Analysis Group (members Wang Luyan, Chen Shaoping, Gu Dexin), Pan Xing Lei, Qiu Zhijie, Ren Jian, Shu Qun, Song Dong, Song Yonghong, Song Yongping, Southern Artists Salon (Members Lin Yilin, Chen Shaoxiong, Liang Juhui), Su Xinping, Tang Song, To Weun, Tsong Pu, Wang Gonxin, Wang Guangyi, Wang Jin, Wang Jinsong, Wang Jun Jieh, Wang Peng, Wang Tiande, Wen Pulin, Wu Mali, Wu Shan Zhuan, Wu Tien-chang, Xiao Lu, Xu Bing, Yan Binghui, Yin Xiuzhen, Tim Yu, 21st Century Group (Members Sheng Qi, Kang Mu, Zhen Yuke, Zhao Jianhai), Yuan Jai, Danny Ning Tsun Yung, Zhang Huan, Zhang Peili, Zhang Xiaogang, and Zhang Yu.\r """ ; write:exhibitedArtwork , , , , ; write:hasWikidataResource . a write:CalliWritingUnit ; wdt:P180 , , , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 , ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Sound MAP (水墨声音)" ; write:description "This CWU is part of the long scroll written by the calligrapher Luo Qi during the musicalligraphy performance title “Sound MAP (Musicalligraphy Augmented Performance)”, that was held on 12 October 2023 at the “International Museum and Library of Music” in Bologna during the opening of the exhibition “Sounds of Ink: Luo Qi and 30 Years of Calligraphyism” (12 October – 5 November 2023). This CWU is composed of the four characters \"shuimo shengyin 水墨声音\" (Sounds of Ink), that represent the Chinese title of the exhibition. The artist wrote the characters from left to right using his personal style, that is a creative mix of running script (xingshu 行书) and a particular form of clerical script (lishu 隶书) used during the Han dynasty (206 BC -220 AD). During the execution, the scroll came directly out of the piano and the characters represent a visual translation of the sounds produced by the instrument. "@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:relatedUnit , ; write:transcriptionAndTranslation "Sounds of ink"@en, "水墨声音"@zh, "Shuǐmò shēngyīn"@zh-Latn . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells - Artwork 1"@en ; wdt:P170 , ; wdt:P180 , ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2012-08-10"^^xsd:date ; write:derivesFrom ; write:description "This artwork was created during the concert entitled \"Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells (萨德勒之井中国书法、音乐和舞蹈音乐会)\", an event commissioned by the Chinese government to honour the Summer Olympic Games. To honour this partnership, Li Binquan realizes the phrase “Yingguo Zhongguo youyi wangguchangqing 英国中国友谊万古长青” (Britain-China Friendship will Last Forever) together with the Professor Roger Mason (b.1941) : the first part “Yingguo Zhongguo youyi 英国中国友谊” (Britain-China Friendship) was written by Roger Mason, while the second part “wangguchangqing 万古长青” (will last forever) was written by Li Binquan."@en ; write:hasVisualArtworkType ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Cui Fei 崔斐" ; wdt:P27 ; wdt:P569 "1970"^^xsd:gYear ; wdt:P800 , , , ; wdt:P812 ; wdt:P856 , ; wdt:P937 ; write:description "Cui Fei, born in Jinan, China in 1970, received her Bachelor of Fine Arts from the China Academy of Arts and her Master of Fine Arts from Indiana University of Pennsylvania before moving to New York in 1996. She was originally trained as a painter, but then she shifted to working with natural materials such as vine tendrils, branches, and thorns. Influenced by Chinese traditional culture and calligraphy, her installations often evoke the fluidity of cursive script while remaining deliberately unreadable, highlighting the inherent patterns in nature. Her work has been widely exhibited, including at the New Britain Museum of American Art, The Aldrich Contemporary Art Museum, and Museum of Chinese in America, the Princeton University Art Museum. She currently lives and works in New York." ; write:hasCalligraphicTraining "Present (not specified)"@en . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Writing Diary with Water Series / Water Diary Series (水写日记系列)"@en, "水写日记系列"@zh, "Shuǐ xiě rìjì xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "1995"^^xsd:gYear ; write:description """In this series started in 1995, Song Dong uses a brush dipped in water to write a sort of invisible diary. Evaporating brushstrokes are methodically painted one on the top of the other, over and over again, on the same impassive surface. The text appears momentarily before vanishing and being replaced by the next fluid characters. The artist sets aside time each day to think about life and living, and to let such thoughts dissolve through the water that flows from his brush. The contemplative nature of this process transforms it into an act of meditation. His intent as an artist is fundamentally iconoclastic: to disrupt categories, media hierarchies and bureaucratic as well as aesthetic expectations. And yet these "political" goals are achieved more often than not through works of art that are uncommonly intimate. Diaries serve a number of purposes, from keeping track of appointments to the documentation of events over time. They can be used to trigger memories or to reflect on ideas, emotions and reactions. The defining character of a diary, however, must surely be its self-confessional and innately private nature: diaries contain information relating to an individual, information that is written down rather than shared. Nevertheless with conventional diarising there is an inherent chance of disclosure: the awareness that other people may at some time read what is initially written in secret. \r The only record that testifies this series is a set of four photographs titled "Writing Diary with Water" made in 1995 that captures four different moments of one daily performance. \r In 2018, as an extension of this series, Song Dong created an installation with the same title as part of the Kochi-Muziris Biennale, inviting visitors to dip paintbrushes in the water and move them freely along the translucent wall that constitutes the installation. \r This series also inspires other Song Dong's artworks, such as: 1) a performance video entitled “Water Records" (Shuiji 水记, 2010), in which Song Dong uses a brush soaked in water to paint images and write texts on hot stone; 2) “Traceless Steel” (Wu hen bei 无痕碑, 2016), a stele made of steel on which Song Dong writes with a brush soaked in water. \r """@en ; write:includesArtwork , , . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Writing Diary with Water / Water Diary (水写日记) - Photographs"@en, "水写日记"@zh, "Shuǐ xiě rìjì"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , , , ; wdt:P2048 "60 cm (each)" ; wdt:P2049 "40 cm (each)" ; wdt:P462 , , , ; wdt:P571 "1995"^^xsd:gYear ; write:derivesFrom ; write:description "This set of four photographs attests the performance of 1995 as part pf \"Writing Diary with Water\"series, in which Song Dong writes his personal diary on a flat stone. Instead of using ink, the artist uses the brush dipped in water to write a sort of invisible diary. This set of photographs testifies different moments of the daily performance. This is the only record of the whole \"Writing Diary with Water\" series. "@en ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal false ; write:hasUnit . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Writing Diary with Water Installation (水写日记)"@en, "水写日记"@zh, "Shuǐ xiě rìjì"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , , , , , ; wdt:P186 ; wdt:P571 "2018-12"^^xsd:gYearMonth ; wdt:P608 ; wdt:P941 ; write:description "From December 12, 2018, to March 29, 2019, Song Dong’s “Writing Diary with Water” (1995-2012) has been on view at the Aspinwall House in Kochi (India) as part of the Kochi-Muziris Biennale. An extension of the earlier series of the same name, “Writing Diary with Water” is housed in a glass structure surrounded by the greenery of Aspinwall House’s gardens. Inside, paintbrushes are stored in containers of water, all coloured and of different sizes and shapes. Visitors are invited to dip their paintbrushes in the water and move them freely along the translucent wall. Over time, each visitor’s trace gradually fades, until it disappears. The work, according to the artist, is about the “inherent impermanence” of the world."@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Zeng Laide 曾来德" ; wdt:P27 ; wdt:P453 ; wdt:P569 "1955"^^xsd:gYear ; wdt:P800 ; wdt:P937 ; write:description """Zeng Laide was born in 1955 in Pengxi, Sichuan Province. He is currently a national first-class artist, vice president of the National Academy of Painting of China, executive director of the Calligraphy and Seal Cutting Institute, and a member of the Academy's Art Committee. He is also a council member of the China Calligraphers Association and its Education Committee chairman, as well as president of the World Chinese Business Painting and Calligraphy Institute. After studying under calligrapher Hu Gongshi 胡公石 (1912－1997) in the 1980s, Zeng developed a unique style that blends tradition with innovation, combining Chinese calligraphy with Western and Japanese artistic influences.\r Zeng Laide is known for experimenting with new forms of expression, blending calligraphy with other art forms, such as music. His works have attracted significant international attention, with exhibitions in museums and galleries both in China and abroad, including a major exhibition entitled "The Music of Ink at the British Museum" held in London in 2005 (see the archive). His creations are known for the bold use of the brush and ink, giving them strong visual impact and modern expression.""" ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:isCalligrapherOf . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Civilization 2"@en ; wdt:P170 ; wdt:P179 ; wdt:P186 , , , ; wdt:P2048 "95.5 cm" ; wdt:P2049 "441.2 cm" ; wdt:P462 , , ; wdt:P571 "2004"^^xsd:gYear ; wdt:P941 ; write:description """Civilization 2 is a folded panel with abstract ink brushwork and Arabic calligraphy realized by Qin Feng in 2004, part of the series entitled Civilization Landscape. The text is written in Arabic, with an expressive and fluid script, while the abstract black ink splashes and strokes create a dynamic contrast.\r Inspired by his upbringing in Xinjiang, a multicultural intersection of the silk roads, Qin Feng has incorporated Chinese, Uighur, Arabic, and Russian language into his "Civilization Landscape Series".\r In his "Civilization Landscape Series", Qin Feng emphasizes cultural contrast through the use of tea (symbolizing Asia) and coffee (symbolizing the West) as background.""" ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit , ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Dialogue of Heaven: Artificial Intelligence Converses with Qu Yuan (天问对答：人工智能对话屈原)"@en, "天问对答：人工智能对话屈原"@zh, "Tiānwèn duìdá: Réngōng zhìnéng duìhuà Qū Yuán"@zh-Latn ; wdt:P170 ; wdt:P180 , ; wdt:P462 , , ; wdt:P571 "2023"^^xsd:gYear ; wdt:P941 , ; sch:thumbnailUrl , ; write:description "In this video work, Huang Yeda reinterprets Qu Yuan's ancient poem \"Heavenly Questions\" (Tianwen 天问) through a dialogue between human calligraphy and artificial intelligence. The work unfolds on a digital screen where each sequence presents a selection of Qu Yuan’s questions alongside AI-generated responses. Three vertical columns of text sections appear simultaneously: the first reproduces Huang Yeda’s seal-script (zhuanshu) transcription of the original poem, digitally acquired from the installation \"Inquiry of Heaven\"; the second displays a computer-generated transcription in standard script (kaishu); the third presents the responses generated by artificial intelligence in the running-cursive style (xingcao) of the Northern Song master Mi Fu (1051 - 1107). As the video progresses, the characters emerge stroke by stroke in real time, visualising the process of algorithmic text generation and transforming it into a calligraphic performance. Through the continuous succession of questions and answers, the work creates an encounter between an ancient poetic voice and contemporary computational systems, situating classical calligraphy within the technological conditions of the digital age." ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit , , ; sch:image , ; write:usesArtwork ; write:vectorisedOrDigitised true ; sch:video . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Writing Music - Silent Melodies: \"Se l'aura spira\" (写乐·无声之歌·若微风吹拂)"@en, "写乐·无声之歌·当温柔的微风"@zh, "Xiě yuè · Wú shēng zhī gē · Dāng wēnróu de wēifēng"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P2048 "480 cm" ; wdt:P2049 "140 cm" ; wdt:P462 , , ; wdt:P571 "2023"^^xsd:gYear ; wdt:P608 ; wdt:P941 , ; sch:thumbnailUrl ; write:description """This artwork is one of the three large vertical scrolls made of transparent plastic of the series "Writing Music - Silent Melodies" (写乐·无声之歌) realized by Luo Qi in 2023. It is inspired by the famous Italian aria "Se l'aura spira" by Girolamo Frescobaldi (1583–1643). Luo Qi transcribes this famous Italian aria using the oldest Chinese musical notation system, the "Dunhuang Musical Score System" (Dunhuang qupu/yuepu 敦煌曲谱/乐谱). This system, dating back to the 10th century, consists of twenty symbols derived from ancient characters, radicals or character components/parts, traditionally used for notating "pipa"(Chinese lute) tablature. The artist reshapes these symbols according to his personal and original interpretation, so that the musical composition is transformed into a “visual and visible musical score”. The writing flow follos the traditional format (from top to bottom and from right to left), while the materials are contemporary (acrylic on plastic). The use of plastic creates an osmotic interplay of transparencies and reflections and the use of black and white, although traditional, is reconfigured within the transcription of the signs. Furthermore, outlining the signs rather than filling them creates a dynamic interplay of empty and full spaces, typical of calligraphy but rendered in a new form.\r This artwork was displayed for the first time during the exhibition "Sounds of Ink: Luo Qi and Thirty Years of Calligraphyism", held in 2023 at the International Museum and Library of Music in Bologna. A similar version of the artwork, executed exclusively in white, was displayed in 2018 during the exhibitions "The Music of Ink - Calligraphies by Luo Qi and Silvio Ferragina in dialogue with the Chinese archive collection of the Braidense Library" (National Braidense Library, Milan - Italy); "The Music of Ink - Calligraphies by Luo Qi and Silvio Ferragina" (2018, Forlì Campus of the University of Bologna); and in 2019 during the exhibition "Luo Qi: Writing Music" (University Library of Bologna). """ ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Sound Images n. 1 (声音的图像之一)"@en, "声音的图像之一 "@zh, "Shēngyīn de túxiàng zhī yī"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , , , , , , , , , , , , , ; wdt:P186 , ; wdt:P2048 "3.9 m" ; wdt:P2049 "2.9 m" ; wdt:P462 , , ; wdt:P571 "2023"^^xsd:gYear ; wdt:P608 ; wdt:P941 , ; sch:thumbnailUrl ; write:description "This artwork is one of eight large works in the series “Sound Images\" (声音的图像) realized by Luo Qi in 2023. Its signs exemplify Luo Qi's fusion of textual form and visual abstraction, originated from the reshaping of ancient Chinese pictograms. This conceptual shift was already explored extensively by Luo Qi in his earlier \"Love Writing\" series (Qingshu 情书, 1990-2002) and \"Bird\" and \"Fish\" series (Niao yu yu xilie “鸟”与\"鱼”系列, 2005–2009). Eyes, hearts, fish, birds, stylized human and animal figures, flags, overflowing vessels, dwellings, arrows, triangle roofs, and crosses populate the composition. Together, they form a vivid kaleidoscope of imagined and yet-to-be-imagined narratives, immersed in a dynamic and pulsating visual rhythm. The arrangement of signs is free and fluid, while the palette alternates between red and black, generating a continuous rhythm punctuated by accents and pauses. The filling in of parts of the characters with red colour not only deepens the three-dimensional feeling of the writing but also adds to its pictorial quality. In fact, the artist draws inspiration particularly from pictograms, that are simple images representing what they signify. These signs demonstrate the artist’s engagement with ancient Chinese writing practices, and in particular with the use of oracle bone script. There are large characters, interspersed with smaller ones, reminiscent of the arrangement in manuscripts and old printed books , where the main content of the text is written in big characters and the commentary inserted in smaller script. The characters are organized in columns, reading from right to left and from top to bottom, like a classical piece of calligraphy. However, in some cases, characters are enclosed by a big rectangular frame that resembles an ancient seal. The characters within this frame are a prominent feature within the overall composition organized in vertical columns. Curved lines makes the shapes appear more welcoming, evoking the fluid lines found in Miró’s visual language. " ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "City - Ode to the West Wind (城市- 西风颂)"@en, "城市- 西风颂"@zh, "Chéngshì - Xīfēng sòng"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , , , ; wdt:P186 , , ; wdt:P2048 "107 cm" ; wdt:P2049 "84 cm" ; wdt:P462 , , ; wdt:P571 "2022"^^xsd:gYear ; wdt:P941 , ; sch:thumbnailUrl ; write:description "This artwork is part of the series \"Material Immaterial - City\". This series depicts city centers in the distance that can be seen fading into a foggy atmosphere. On this background Chu Chu incorporates calligraphy using black ink and colorful acrylic paint on photographs using Italo Calvino's “Invisible Cities” and Western poems translated into Chinese as content of the texts. In this particular piece, Chu Chu uses black ink and white acrylic to write the Chinese translation of Percy Bysshe Shelley's \"Ode to the West Wind\". " ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool ; write:vectorisedOrDigitised true . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "White Orchid: Exotic Goddesses - Wen Tingyun (白兰花 - 菩萨蛮·温庭筠)"@en, "白兰花-菩萨蛮·温庭筠"@zh, "Bái lánhuā - Púsà mán · Wēn Tíngyún"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , , , ; wdt:P186 , ; wdt:P2048 "87 cm" ; wdt:P2049 "100 cm" ; wdt:P462 , , , ; wdt:P571 "2020"^^xsd:gYear ; wdt:P608 ; sch:thumbnailUrl ; write:description """“White Orchid: Exotic Goddesses - Wen Tingyun” is part of a project realized by Chu Chu between 2017 and 2020 and belongs to the series "Material Immaterial" (Wu fei wu 物非物). The project began as black-and-white photographs of everyday objects, such as magnolia flowers, which the artist kept in her studio in Hangzhou. Over time, Chu Chu enriched these images by adding delicate characters written vertically in white and soft colored ink, such as purple and pink, arranged to resemble the composition of the gentle flower petals falling over the photographed subjects. In this work, as in others from the series, the artist transforms ordinary objects into contemplative symbols of life's impermanence. The artist invites viewers to rediscover the overlooked beauty of things we tend to consider unimportant, such as withered flowers.\r """ ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , ; wdt:P186 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 1 Retranslation & Rewriting of Tang Poem no.1 (《相思》)" ; write:description "This CWU consists of the poem \"Xiangsi 相思\" (One-Hearted) by Wang Wei (699-759) from the Tang Dynasty (618-907). The reading of \"Retranslation & Rewriting of Tang Poem no.1\" begins with this poem, inscribed in the right section of the stele in Chinese characters, following the traditional direction from top to bottom and from right to left. In this poem, Wang Wei uses red beans as an evocative symbol to express longing and affection, highlighting the enduring power of love and remembrance. The poem is then translated into English (CWU 2). " ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 25 ; write:relatedUnit , , ; write:transcriptionAndTranslation """"One-hearted" by Wang Wei of the Tang Dinasty\r \r When those red berries come in springtime,\r Flushing on your southland branches,\r Take home an armful, for my sake,\r As a symbol of our love."""@en, """唐﹕王維 相思\r 紅豆生南國﹐春來發幾枝。\r 願君多採擷﹐此物最相思。"""@zh, """唐﹕王维 相思\r 红豆生南国﹐春来发几枝。\r 愿君多采撷﹐此物最相思。"""@zh, """Táng: Wáng Wéi - Xiāng Sī\r \r Hóng dòu shēng nán guó, chūn lái fā jǐ zhī.\r Yuàn jūn duō cǎi jié, cǐ wù zuì xiāng sī."""@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , ; wdt:P186 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU 2 Retranslation & Rewriting of Tang Poem no.1 (One-hearted Tang Dinasty Wang Wei)" ; write:description "This CWU consists of the English translation of the Chinese poem One-Hearted by Wang Wei curated by Witter Bynner and published in The Jade Mountain (T.S.G. New York, USA)." ; write:hasBackgroundColour ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:relatedUnit , , ; write:transcriptionAndTranslation """One-hearted Tang Dinasty Wang Wei\r \r When those red berries come in springtime,\r Flushing on your southland branches,\r Take home an armful, for my sake,\r As a symbol of our love.\r \r Witter Bynner The Jade Mountain, T.S.G. New York, USA\r """@en . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 ; wdt:P186 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; wdt:P9302 ; sch:thumbnailUrl ; write:attributedTitle "CWU 3 Retranslation & Rewriting of Tang Poem no.1 (晚作詩來...)" ; write:description "Starting from the English translation (CWU 2) of Wang Wei's poem \"One-Hearted\" (CWU 1), the artist transliterates the syllabic sounds back into Chinese. For example, “when” is transliterated into one single Chinese characters wan 晚 (\"dusk\"), selected for it phonetic proximity to the English word. This CWU occupied the stele's central section and represents the main content of the artwork due to both its central position and the larger scale of the characters. The other CWUs appear both to the right and to the left of this central text. The overall meaning diverges completely from both the original poem by Wang Wei and its English translation." ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 52 ; write:relatedUnit , , ; write:transcriptionAndTranslation """Come to Bairui Temple for poetry reading at dusk, welcomed and appreciated guest,\r Gleeful lady, high spirited feeling, \r Like having orchid and sensual concubine. \r Vast heaven oh! Deep shore, poetising at dusk is a higher blessing than jade. \r Oh! Love, floating and soaring waves of the heart, sing and dance my happiness.\r """@en, """晚作詩來得拜睿寺﹐ 客目迎斯頗令嘆。\r 婦樂形昂猶﹐受似攬得菩蘭妾色。\r 太闊泓岸啊﹗暮賦而福邁賽珂。\r 愛思啊﹐心波翱浮﹐謳舞而樂福。\r \r ( 以 Witter Bynner 的唐詩英譯本 Jade Mountain 之英語讀音的同聲漢字譯回成中文 )"""@zh, """晚作诗来得拜睿寺，客目迎斯令颇叹。\r 妇乐形昂犹，受似揽得菩兰妾色。\r 太阔泓岸啊﹗暮赋而福迈赛珂。\r 爱思啊，心波翱翔，讴舞而乐福。"""@zh, """Wǎn zuòshī láidé bài ruì sì, kè mù yíng sī pō lìng tàn.\r Fù lè xíng áng yóu, shòu sì lǎn dé pú lán qiè sè. \r Tài kuò hóng àn a﹗mù fù ér fú mài sài kē. \r Ài sī a, xīn bō áo fú, ōu wǔ ér lè fú."""@zh-Latn . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 ; wdt:P282 ; wdt:P407 ; wdt:P462 ; sch:thumbnailUrl ; write:attributedTitle "CWU 4 Retranslation & Rewriting of Tang Poem no.1 (Come to Baihua Temple)" ; write:description """This CWU presents a further English translation. It translates to English Gu Wenda’s phonetical transliteration into Chinese characters (CWU 3) of the English traslation (CWU 2) of Wang Wei’s poem (CWU 1). In other words, the text undergoes a double linguistic mediation. The English version of Wang Wei’s poem is first phonetically transcribed into Chinese characters (CWU 3). That phonetic Chinese text is then translated back into English.\r """ ; write:hasBackgroundColour ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; sch:image ; write:isUnitOf ; write:madeUsingTool ; write:relatedUnit , , ; write:transcriptionAndTranslation """Come to Bairui Temple for poetry reading at dusk, welcomed and appreciated guest,\r Gleeful lady, high spirited feeling, \r Like having orchid and sensual concubine. \r Vast heaven oh! Deep shore, poetising at dusk is a higher blessing than jade. \r Oh! Love, floating and soaring waves of the heart, sing and dance my happiness.""" . a write:DecorativeAndAppliedArt ; wdt:P1071 ; wdt:P1476 "Wandering Beyond Robe (逍遥衫丝质衣袍)"@en, "逍遥衫丝质衣袍"@zh, "Xiāoyáo shān sī zhì yī páo"@zh-Latn ; wdt:P186 , ; wdt:P2048 "140 cm" ; wdt:P2049 "145 cm" ; wdt:P287 , ; wdt:P462 , ; wdt:P571 "2017"^^xsd:gYear ; wdt:P608 ; wdt:P941 ; sch:thumbnailUrl ; write:description "This white silk garment was created by Wang Dongling in 2017 for \"The Silk Road Yunshang\" exhibition, held at the Taimiao Art Museum in Beijing in May 2017. The garment is inscribed with black acrylic ink in the luanshu (chaos script) style. Wang Dongling reproduced the text of \"Wandering Beyond\" (Xiaoyao you 逍遥游), the first of the “inner chapter\" (neipian 内篇) of Zhuangzi 庄子."@en ; write:hasDecorativeArtworkType ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Writing Landscapes - Drafting from Extensive Research on Ancient Model Scrolls (书山水 - 收遍古帖打草稿)"@en, "书山水 - 收遍古帖打草稿"@zh, "Shū shānshuǐ - shōu biàn gǔ tiē dǎ cǎogǎo"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , ; wdt:P186 , ; wdt:P2048 "21 cm" ; wdt:P2049 "60 cm" ; wdt:P462 , ; wdt:P571 "2015"^^xsd:gYear ; wdt:P608 ; wdt:P941 ; sch:thumbnailUrl ; write:description """"Writing Landscapes - Drafting from Extensive Research on Ancient Model Scrolls" is one of the works included in "Writing Landscapes" (Shu shanshui 书山水), an ongoing series started in 2015 by Chu Chu. In this work, Chu Chu reinterprets the visual structure of traditional Chinese landscape painting (shanshui 山水) by transforming calligraphic brushstrokes and Chinese characters into a landscape configuration. \r The overall composition forms mountains, ridges, and flowing streams. It draws inspiration from "Precipitous Peak" (Sou jin qi feng da caogao 搜尽奇峰打草稿, literally "Searching All the Strange Mountains for Sketches"), a landscape painting by Shi Tao 石涛 (1642 – 1707). The textual content of the characters used to generate the landscape derives from historical collections of calligraphic rubbings and model works known as 'model calligraphy from famous steles and rubbings of successive dynasties' (lidai ming bei tie 历代名碑帖). These textual sources are rendered through a range of scripts, from seal script to cursive. The composition therefore integrates multiple calligraphic styles and techniques within a single pictorial surface.""" ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q7725310 ; wdt:P1071 , ; wdt:P1476 "Ecological Trilogy (生态作品三部曲)"@en, "生态作品三部曲"@zh, "Shēngtài zuòpǐn sānbùqǔ"@zh-Latn ; wdt:P170 ; wdt:P580 "2007"^^xsd:gYear ; sch:thumbnailUrl , ; write:description """ Ecological Trilogy is an uncompleted series by Wang Nanming conceived between the late 1990s and 2009. It includes "Water of Lake Tai" (Taihu shui 太湖水, 2007), "Rubbing Drought" (Ta yin ganhan 拓印干旱, 2009) and the unrealized “Sandstorm" (Shachenbao 沙尘暴, unrealized). Through this trilogy, Wang transforms environmental traces into visual artistic expression, creating a visual testimony of China’s ecological crises.\r "Water of Lake Tai" records water pollution at Lake Tai, while “Rubbing Drought" captures cracks in the dried Xiliu Lake in Zhengzhou through traditional tayin rubbing.\r "Sandstorm“ was conceived as a work in which an actual sandstorm would blow onto linen coated with glue, thereby fixing the sandstorm's physical traces onto the surface. Despite several attempts, this project remains incomplete, as the artist’s location in Shanghai and time constraints prevented him from working directly in regions affected by sandstorms. Wang still intends to realize it in situ, for example in Dunhuang (artist interview 2025).\r Works from the series are held in the British Museum, Annie Wong Art Foundation, and National Art Museum of China.""" ; sch:image , ; write:includesArtwork , . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Water of Lake Tai (太湖水) "@en, "太湖水"@zh, "Tàihú shuǐ"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , ; wdt:P186 , , ; wdt:P462 , ; wdt:P571 "2007"^^xsd:gYear ; wdt:P608 ; sch:thumbnailUrl ; write:description "\" Water of Lake Tai\" is a conceptual work by Wang Nanming. It addresses social and ecological issues in China. The artist realized \"Water of Lake Tai\" in 2007 to record water pollution at Lake Tai, the third biggest freshwater lake in China separating Jiangsu and Zhejiang provinces. The work consists of sheets, which were drown in the green water of Lake Tai. The artwork was exhibited during \"Ta Yin Drought: Wang Nanming Solo Exhibition\" (2012) and it belongs to Wang's uncompleted Ecological Trilogy (Shengtai zuopin sanbu qu 生态作品三部曲)." ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image . a write:DecorativeAndAppliedArt ; wdt:P1071 ; wdt:P1476 "Emptiness (無)"@en, "無"@zh, "Wú"@zh-Latn ; wdt:P179 ; wdt:P180 , , , ; wdt:P186 ; wdt:P287 ; wdt:P462 ; wdt:P571 "2018"^^xsd:gYear ; wdt:P608 ; sch:thumbnailUrl ; write:description """The dress titled “Emptiness" (Wu 無) is realized by Tsai Yi‑Fen as part of the "From Ink to Apparel III" exhibition held in Taipei in 2018. The concept for this piece derives from the Chinese character wu 無 (emptiness/non‑being) and translated into a garment that embodies both visual and philosophical meaning. \r The design abstracts the flowing strokes and rhythmic energy of calligraphy into structural lines and contours, using silhouette and textile movement to evoke space and void. The bodice features a rigid, woven framework reminiscent of a net or grid, enveloping the shoulders and torso. Its architectural interlacing suggests three-dimensional calligraphic knots, while the off-shoulder cut balances the density of the upper structure. The skirt, composed of long black threads akin to fringe or filamentary fibers, cascades to the floor and beyond, generating a liquid, ethereal effect. Threads extending from the arms echo the gestures of calligraphy in motion, imparting a sense of spatial expansion even in stillness. Constructed from glossy, slightly rigid fibers—likely synthetic or treated to preserve length and movement—the bodice emphasizes texture and three-dimensionality through corded details and raised knots. A subtle red accent at the wrist introduces chromatic contrast to the predominantly black and gray palette.\r Ultimately, “Wu 無” functions as wearable art rather than conventional ready-to-wear. The interplay between a structured, architectural upper section and flowing, ethereal fringes creates a poetic, theatrical effect, visually translating the concept of emptiness and spatial extension while engaging in a dialogue between Chinese calligraphy and contemporary fashion."""@en ; write:hasColophon false ; write:hasDecorativeArtworkType ; write:hasSeal false ; write:hasUnit ; sch:image . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Artworks of the Performance Ten Tang Poems - Calligraphies (唐诗十首)"@en, "唐诗十首"@zh, "Tángshī shí shǒu"@zh-Latn ; wdt:P170 ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2000"^^xsd:gYear, "2001"^^xsd:gYear ; wdt:P941 ; write:derivesFrom ; write:description "These ten Tang poems calligraphies are the risult of the performance of Qiu Zhijie entitled \"Tangshi shi shou 唐诗十首 \" (Ten Tang Poems, 2000-2001). The poems are written from left to right and from bottom to the top. Every stroke order is also written inversely. " ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool . a wd:Q215627 ; wdt:P106 ; wdt:P21 ; wdt:P2561 "Polly Ho 何善恒" ; wdt:P27 ; wdt:P361 ; wdt:P800 ; wdt:P937 ; sch:thumbnailUrl ; write:description """Polly Ho is a Hong Kong–based fashion designer and co-founder of the brand Loom Loop, whose practice focuses on the reinterpretation of traditional Chinese textile culture within contemporary fashion design. She studied Arts and Design at the Hong Kong Polytechnic University and later continued her education at the University of Central England in Birmingham. Her work is characterized by a research-driven approach that combines heritage craftsmanship, historical fabrics, and experimental garment construction. A central aspect of her design methodology is the translation of cultural and artistic references—such as calligraphy, textile history, and material techniques—into three-dimensional forms worn on the body.\r Educated in design in Hong Kong and the United Kingdom, Polly Ho has developed an interdisciplinary practice that moves between fashion, material research, and cultural preservation. Through Loom Loop, she has been particularly engaged in revitalizing traditional silk fabrics and artisanal processes, integrating them into modern silhouettes and conceptual collections. """@en ; sch:image ; write:isDesignerOf . a wd:Q1400264 ; wdt:P2561 "Loom Loop 碌祿" ; wdt:P276 ; wdt:P527 ; wdt:P571 "2014"^^xsd:gYear ; wdt:P800 ; wdt:P856 ; sch:thumbnailUrl ; write:description """Loom Loop is a Hong Kong–based fashion label founded in 2014 by designers Polly Ho and Andy Wong. The brand was established with the aim of integrating traditional Chinese textile heritage with contemporary fashion design, developing collections that reinterpret historical materials and artisanal techniques through a modern design perspective.\r A key aspect of Loom Loop’s identity is its focus on the use and revitalization of Canton silk, also known as gambiered silk, a traditional fabric historically produced in the Guangdong region. By incorporating this material and other heritage textile processes into contemporary garments, the brand seeks to preserve and promote Chinese textile culture while adapting it to current fashion contexts and global audiences.\r The name of the brand reflects this conceptual approach: “loom” refers to the weaving loom used in textile production, while “loop” evokes the construction process of garments and the cyclical relationship between tradition and innovation. Through this framework, Loom Loop positions craftsmanship, material research, and cultural continuity as fundamental elements of its design methodology.\r Over the years, the brand has presented its collections on international platforms, including major fashion events and showcases promoting Hong Kong designers abroad. Through these initiatives, Loom Loop contributes to the global dissemination of contemporary fashion practices rooted in East Asian textile traditions."""@en ; write:hasArtisticCollectiveType ; sch:image ; write:isDesignerOf . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Artworks of the Performance Zhang Qiang's Traceology Report A/X7 (Zhang Kaini) [张强踪迹学报告 A/X7 (张凯妮) 模型]"@en, "张强踪迹学报告 A/X7 (张凯妮) 模型"@zh, "Zhāng Qiáng zōngjì xué bàogào A/X7 (zhāngkǎinī) móxíng"@zh-Latn ; wdt:P170 , ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2016-10-08"^^xsd:date ; sch:thumbnailUrl , , , , , , , ; write:derivesFrom ; write:description "During the performance Zhang Qiang's Traceology Report A/X7 (Zhang Kaini) [张强踪迹学报告 A/X7 (张凯妮) 模型] Zhang Qiang and Zhang Kaini create eight \"abstract\" artworks made by ink on paper, that are the result of the interaction between them. Even if they do not write Chinese characters, they shape calligraphic lines and body prints."@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image , , , , , , , ; write:madeUsingTool , . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Dezio 度西奥" ; wdt:P27 ; wdt:P800 , ; wdt:P856 , , ; wdt:P937 ; write:description """Dezio is a French writer highly respected in Shanghai, started painting in 1994 in a little town in France called Le Mans when he was only fifteen years old. He continued ceaselessly to paint walls and in 2006 he moved to China, where the graffiti scene was basically just starting out. His first "international" crew was the CLW crew (acronym for "China’s Least Wanted", "Coloring Local Walls" or "Can’t Let’m Win"), founded with Jin Ye, Nine, Fluke and Storm. The crew also had other members in many different cities of the country like Nanjing, Wuhan, Guangzhou, Shenzhen, Beijing and Honk Kong. The main aim of the crew was to combine writers from all over China and the world, who shared the same passion and vision of graffiti, under one "big family". \r Now Dezio lives and works in Shanghai, where he co-founded Urban Art United (UAU), an urban art agency based in Shanghai since 2017 that connects people with art in China.\r Before following the post-graffiti trend and becoming a well-rounded artist, Dezio often used Chinese characters in his works and signed with his Chinese tag (Duxi’ao 度西奥). \r Dezio said that Chinese local artists believed it was impossible to write with Chinese characters, and yet, despite being French, Dezio proved them wrong. He explained how any character or letter can be divided into strokes and each stroke can be reworked in a personal style. Then, that "personalized stroke" can be combined with others to make a piece. In fact, every time he travels in Asia, Dezio always tries to paint in the local language, even if he doesn’t know how to write it, reproducing this "strokes re-combination" concept. This highlights a very intercultural way of doing graffiti which allows a true dialogue with diversity, giving new life to walls in which the only protagonist is Art.\r With Dezio, the use of Chinese characters is not limited to his tag but also to a series of works with Chinese characters, each time with a different intent. \r "He has had a recognizable impact on the development of contemporary graffiti in the city. His works have exhibited playful yet skillful engagement with contemporary graffiti for around two decades. Dezio is known not only for his accomplished alphabets but also for his elaborate Chinese writing, which he uses even for his own name (Duxi’ao 度西奥)" (Valjakka 2016, 364).\r """@en ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:hasTag "Dezio"@en, "Dezioone"@en, "度西奥"@zh, "Dùxīào"@zh-Latn . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "Ink Shooting (射墨)"@en, "射墨"@zh, "Shèmò"@zh-Latn ; wdt:P175 ; wdt:P180 , , , , , ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P2047 "PT1M"^^xsd:duration ; wdt:P276 ; wdt:P585 "2017"^^xsd:gYear ; write:calligrapher ; write:createsArtwork ; write:description """This performance is held by Shao Yan in 2017 at the "Taishan Large-Scale Painting and Calligraphy Art Expo" - Shangdong province (泰山大型书画艺术品博览会). The artist uses several syringes full of ink injecting it to a long sheet of paper. This new technique is called Shemo 射墨 (Ink Shooting).\r The video of this performance begins circulating on internet in 2018, filming Shao Yan during his calligraphic performance. Helped by several assistants who held a long sheet of paper, the artist squirts streams of ink with four syringes by means of sudden movements, being acclamed by the astonished spectators. In a short time, the video becomes widely known and triggers different reactions: there are those who appreciate this innovative technique and those who do not like the novelty, wondering if it is still calligraphy or not. Shortly afterwards, the artist has been interviewed in his studio in Songzhuang, a district of Beijing, by Liu Pai 刘湃, a correspondent of the "China News", who wanted to know more about his art and about his opinion on the criticism he had received since the video was released. He emphasized the artist’s mission as one of “visually guiding the viewer,” asserting that even traditional cursive (caoshu) often defies immediate legibility. His work, he argues, is simply the next logical step: “If you don’t write Chinese characters, you have to go beyond writing Chinese characters. That’s what I’ve done” (Liu 2018). He proposed terms like Shao Yan’s Calligraphy (Shao Yan de shufa 邵岩的书法) or Shao Yan’s Ink Shooting (Shao Yan de shemo 邵岩的射墨), embracing the idea that this new technique stands as a personal and valid evolution of the medium.\r By transforming the calligrapher’s gesture into a pure act of kinetic inscription, Shao Yan pushes the boundaries of what calligraphy can be. The resulting image is less about the legible character and more about the embodied energy, intention, and performative mark-making.\r Since 2017, Shao Yan continues executing these performances in several Chinese cities, animating the debate about the real nature of calligraphy. """@en ; write:hasPerformingArtworkType ; write:hasUnit ; write:madeUsingTool wd:Q273318 ; sch:video . a wd:Q7725310 ; wdt:P1071 , ; wdt:P1476 "Biface Graphy Series (双面书法系列)"@en, "双面书法系列"@zh, "Shuāng miàn shūfǎ xìliè"@zh-Latn ; wdt:P170 , ; wdt:P580 "2009"^^xsd:gYear ; sch:thumbnailUrl ; write:description """"Biface Graphy" is a calligraphic project realized by Zhang Qiang and Lia Wei. The project declines itself in various fields : monumental landscape and installation, cave shrinerubbing sessions and dialogue books, etc. By choosing the Literati world as a common form of life, the two artists established practice, metaphysical behavior and research fields as an interconnected whole.\r Biface Calligraphy appears to be the most efficient way to federate interests in a synthetic, immediate, absolute movement. Early Biface Graphy is made of strategic moves, definite purpose, graphic choices. During its latest progress, the artists' practice gained in fluidity and spontaneity. This performative tool allows each artist to distinct himself behind a paper-sheet distance from the other, but it also provokes and melts their most instinctive actions in a visual, spatial, temporal continuum. The 'Machine' and the running Scroll constitute their frame of interaction. By multiplying the machine's versions and experimenting different qualities of writing support, Zhang Qiang and Lia Wei regulate Biface graphy's physical shape. The resulting patterns are a visual translation of their common discourse and become an apparition by 'Open Scroll' happenings. Sudden vertical "discursive shapes" spread thereby in landscapes and cities.\r \r In "Biface Graphy" writing sessions, a scroll hangs vertically in-between the two artists Zhang Qiang and Lia Wei. The brushes thus not having to compete for a same surface, each one being able to freely occupy a whole side of the paper. The script is realized with calligraphic brushes and ink; it is not readable, but constructed through the interaction of the two brushes writing simultaneously, conscious of each other’s movement.\r The ‘Biface Graphy’ studio gradually became more structured. The scroll was suspended in space on a permanent standing man-sized frame. The writers are facing each other, standing on platforms under which the translucent scroll can run ‘endlessly’, without preventing their movement and the running script. The writing surface is sensitive to movement; brushes are thus not acting on a flat surface. The flexible surface is sensitive to pressure on both sides and convey the strength and darker spots of encounter as well as the depth of one-sided gestures. The wooden structure where Biface Graphy was produced was meant as an abstract machine producing its own intrinsic language. Here, content and shape are not opposed, but the trace produced is beyond expression, beyond signs. Rather, it takes shape directly from the hand-and- tool polarity. The scroll’s structure allows artists' writing process to rely on uninterrupted gesture, letting hands lead our minds. By choosing translucent silk, the two artists want to suspend the strokes and allow them to conquer space. \r In the long term, as the project extends over several years, the interaction between the two calligraphers gained in depth and finesse and a common language was approached, in an asymptotic fashion. This secret language proceeded by a constant and formed its own subsystem, fed by the existing system of variation provided by calligraphic shapes. An essential difference between Biface Graphy and traditional calligraphy is of course the unreadable quality of the script. Chinese calligraphers make up a mental image of the graph to come and its position in the pictorial space before the act of writing, while "Biface\r Graphy" relies on a prior contract between two authors. Such contract is closer to exercises ofspirit writing, divination or forms of talismanic writing, than to historically contingent ideographic writing. In the divination process, there is a question, an answer, and a third part that is played by nature’s entropic processes. To our eyes, the braid-like structure of Biface Graphy was eminently recognizable. But at first sight, without being backed up by an apparent writing process, the scrolls risked to appear as any abstract ink painting. \r A second step taken by the collaborative duo was to spatialize the resulting scrolls in their full scale. Through a series of installations which we called ‘Open Scroll‘, Biface Graphy exit the literati’s studio enclosed universe and invaded man-made architectures and open air landscapes.\r Hundreds of meters of soft silken scrolls were displayed outdoors, far from the two-dimensional surface of traditional calligraphy. To this day, scrolls have been opened in Xijiang village (Guizhou province 2011), Bishan Temple of Confucius (Chongqing Municipality 2011), Mount Taihang in Linzhou (Henan province 2012), Great Wall at Jinshangling (Hebei province 2013), as well as several traditional exhibition spaces (Chengdu Biennale, China Academy of Art, Venice Arsenale, Venice Lido Gran Viale, Brussels Palais de Justice, Paris Buttes-Chaumont, Venice Magazzino del Sale, etc.).\r \r "On 11 september 2009 at home in Chongqing, looking at some exercises of recto-verso writing in archaic logograms, we were seduced by their complex structure and ink variation. Conjunction in space awaited for meeting in time. We thus hung a paper scroll and let it run in-between us, immediately trying to write on it in a strictly simultaneous way. The fragile layer of paper as a white veil conveys light, warmth, and the other's breath. Only the heavy black ink of the other, neat as mine on the soft surface, is allowed to pass through, only the brushes hair, to touch. The pen follows its own mechanism, until the other's stroke appears : attraction, unexpected reaction, sudden distance, an infinite scale of variation and possible combinations is left half-opened to us. The result of this relation on paper is essentially out of control. Directing our attention on the meeting brushes, rather than on the appearing strokes, lead us to a more fluent rythm, out of preconceived patterns. Further discoveries and accidents await along the coming experiments. \r What does Biface Graphy brings to Calligraphy SHUFA ? The prevalent process brings calligraphy art to and end, or a new beginning [...].\r Biface SHUFA is not re-designing ideograms, it is not looking for an\r abstract rendering of calligraphy's beauty. It escapes from linguistic fixed structures but still expresses a relation between two distinct ensembles. It also can, with pleasure, take a distance from heroic creators of limited expressive tools. Selfish empires of meaning sprout everyday among the growing crowd of want-to-be Him, whose initiatives contribute to elaborate new dispositives of control and loneliness".\r """@en ; sch:image ; write:includesArtwork , . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Free Cloud Calligraphy Series (云自在书系列)"@en, "云自在书系列"@zh, "Yún zìzài shū xìliè"@zh-Latn ; wdt:P170 , ; wdt:P580 "2020-06-06"^^xsd:date ; wdt:P582 "2021-05-29"^^xsd:date ; sch:thumbnailUrl ; write:description """This series goes from June 6, 2020 to May 29, 2021. It initially takes place inside the studios. In a second phase, the performances are made public during some exhibitions in Hangzhou and Shanghai and in some open spaces (beaches and other natural spaces). \r Zhang Qiang creates the so-called "Blinded Calligraphy" (mang shu 盲书): looking away, the artist holds up an ink-soaked brush, creating traces of ink while the female counterpart Ding Feifei 丁斐斐 moves a sheet of paper or silk over his head, as if to simulate the movement of clouds in the sky. However, as Ding Feifei points out, Yunshu 云书 is a work that Ding Feifei conceived and created together with Zhang Qiang, while Mang shu 盲书 is a work that Zhang Qiang conceived independently, inviting women to work with him. In fact, all materials and techniques used are chosen by Ding Feifei, who thus becomes a full-fledged collaborator and creator of the experimentation.\r The performances have a duration that varies from 10 minutes to half an hour (excluding the preparatory work). During the performances inside the studios, relaxing background music is usually played. The music consists on various tracks collected in NetEase Cloud Music (Wangyi yun yinyue 网易云音乐), a freemium music streaming service famous in China. From these performances a total of 100 works on paper or silk are created.\r Different types of paper or silk are used, e.g. goose skin paper (yanpi zhi 雁皮纸), alum silk (fan juan 矾绢), Geng silk (geng zhuan耿绢) or artificial Japanese silk (Riben rengong juan 日本人工绢); different types of brush are also used, such as: zha bi 楂笔, dou bi 斗笔, baiyun bi 白云笔, yi wen bi 衣纹笔, ye jin bi 叶筋笔 and xie jing bi 写经笔; different types of ink such as jiao mo 焦墨, ku mo 枯墨, se mo 涩墨, su mo 宿墨, zhong mo 重墨, zhong mo 中墨, dan mo 淡墨; the movements of the female counterpart Ding Feifei may also be different: throwing (pao 抛), tossing (shuai 甩), pulling (che 扯), shaking (doudong 抖动), etc.; the artworks realized may vary depending on the humidity present in the places of execution and the climatic weather (rainy, sunny or cloudy). """ ; sch:image ; write:includesArtwork , . a write:DecorativeAndAppliedArt ; wdt:P1071 , ; wdt:P1476 "Artworks of the Zhang Qiang's Traceology Report A/C 3 Model - Cicada Wings (张强踪迹学报告 A/C 3 模型 - 蝉翼缥举)"@en, "张强踪迹学报告 A/C 3 模型 - 蝉翼缥举"@zh, "Zhāng Qiáng zōngjì xué bàogào A/C 3 móxíng - chán yì piāo jǔ"@zh-Latn ; wdt:P179 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P287 ; wdt:P462 , ; wdt:P571 "2002-02-01"^^xsd:date ; wdt:P856 ; sch:thumbnailUrl ; write:derivesFrom ; write:description "These artworks are the \"traced\" clothes made during the performance \"Zhang Qiang's Traceology Report A/C 3 Model - Cicada Wings (张强踪迹学报告 A/C 3 模型 - 蝉翼缥举)\" at the \"Great Exhibition Court\" of the London British Museum in occasion of the \"Amazing Brush - Chinese Modern Calligraphy Exhibition\" (Jingren zhi bi—xiandai Zhongguo shufa zhan 惊人之笔—现代中国书法展). At the end of the performance, the \"traced\" clothes were exhibited in the British Museum."@en ; write:hasChineseConcept ; write:hasColophon false ; write:hasDecorativeArtworkType ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1303 ; wdt:P1476 "Confrontation (对峙)"@en, "对峙"@zh, "Duìzhì"@zh-Latn ; wdt:P175 ; wdt:P180 , , ; wdt:P186 wd:Q207849, wd:Q855680 ; wdt:P276 ; wdt:P585 "2023-01-07"^^xsd:date ; sch:thumbnailUrl , , , ; write:calligrapher ; write:createsArtwork ; write:description """This performance takes place at the "17th Macau International Live Art Festival (MIPAF)" (Di shiqi jie Aomen guoji xianchang yishu jie 第十七届澳门国际现场艺术节 - MIPAF) on January 7, 2023. Wu Xixia and a red humanoid mannequin are kneeling facing each other, covered by a red cloth. When the cloth is lifted, the artist begins to write with a brush the white characters "human" (ren 人) and "art" (yishu 艺术) on the mannequin to "give life" to it, announcing the beginning of the confrontation. To the sound of the drums, the artist "stabs" the mannequin with the brush, leaving traces of white and red ink on the object. Each time Wu Xixia hits the mannequin, laser beams are projected onto the artist's back, until both the mannequin and the artist's body are covered with marks. At that point, the cloth is replaced and the "fall" of both sides (subject and object) marks the end of the confrontation.\r The humanoid mannequin is an inanimate object created by industrial civilization and modern technology, while the living person represents humanity, identity, role, creation, etc. The dynamics of the act of "punching each other" through this game of parts represents the confrontation between living and non-living beings. Both sides are kneeling towards each other, in an equal position, just to represent that at the end there is no winner."""@en ; write:hasChineseConcept , ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image , , , ; write:madeUsingTool wd:Q614467 . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P1412 , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Adriana Iezzi" ; wdt:P27 ; wdt:P569 "1985-06-04"^^xsd:date ; wdt:P812 ; wdt:P937 ; write:description """Adriana Iezzi is full Professor of Chinese Language and Culture at the Department of Interpreting and Translation of the University of Bologna. She obtained her master’s degree in Chinese Language and Culture cum laude from Sapienza University of Rome (2009), where she also earned her Ph.D. in Asian and African Civilizations, Cultures and Societies (2014).\r Her research activity focuses on Chinese contemporary calligraphy, with particular attention to the analysis of the main artistic expressions that deviate from traditional calligraphic forms (e.g. graffiti art). The main aim of her research is to provide a model for qualitative analysis of these new artistic expressions, proposing a new taxonomy of Chinese renewed calligraphy production, a systematic study on its language and texts, and revealing socio-political and economic implications of their emergence.\r She has authored 3 books in Chinese that received the highest academic award for Chinese National Books (one of them also received the bronze medal for Chinese Art Book 2019) and several academic articles, book chapters, and translations. She has also been the curator of international Chinese art exhibitions in Italy and abroad, that involved hundreds of artists from all over the world, and she has many active collaborations with museums and galleries in Italy and in China. She has been a visiting researcher at Liaoning Normal University and China Academy of Art. She is a member of the scientific committee of the Asia Institute and of the Xiyuan yaji journal (specialized in Chinese contemporary art and calligraphy). She is a member of the Italian Association of Chinese Studies (AISC), European Association for Chinese Studies (EACS), and European Association for Asian Art and Archeology (EAAA).\r From 2020, she is the Principal Investigator of a Research Project entitled "WRITE: New Forms of Calligraphy in China: A Contemporary Culture Mirror" (GA n. 949645)."""@en ; write:hasCalligraphicTraining "Master-Taught"@en ; write:isCuratorOf , , , . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "Woman 女+ Horse 马 = Mother 妈"@en ; wdt:P175 ; wdt:P180 , , , , ; wdt:P186 wd:Q127418, wd:Q25416319, wd:Q9545439 ; wdt:P2047 "PT30M"^^xsd:duration ; wdt:P276 ; wdt:P585 "2022-09-30"^^xsd:date ; wdt:P608 ; wdt:P941 ; sch:thumbnailUrl , , ; write:calligrapher ; write:description """This performance took place in 2022 at the TJ Boulting Gallery of London during "Love, Celebration and the Road Ahead", a three-day festival (September, 29 - October, 1st ) to mark the launch of Hettie Judah's book entitled "How Not To Exclude Artist Mothers (and other parents)". In this book Hettie Judah explains that for too long, artists have been told that they can't have both motherhood and a successful career. In this polemical volume, critic and campaigner Hettie Judah argues that a paradigm shift is needed within the art world to take account of the needs of artist mothers (and other parents: artist fathers, parents who don't identify with the term "mother", and parents in other sectors of the art world). For this occasion, therefore, the artist Echo Morgan decides to paint her face in white with the Chinese character "ma 妈" (mother). The character "ma 妈" is written in blue/green ink, as well as her clothes are drenched in the same ink. The artist then wraps white lanterns with various writings around her body, combining Chinese characters with the English language, such as: "ziyou 自由" (freedom); "hai 海" (sea); "hao 好" (good); "popo 婆婆" (grandmother); "shengming 生命" (life); "tudi 土地" (soil); "tielian 铁链" (iron chain); "Can be a good mum and a good artist?"; "The Chinese word mum is combined woman 女 + horse 马"; "Flying dress"; "Mothers are the best in the world if you have one you are precious"; "Yellow face wife", "Sea Big Ocean like Mother Care", "Don’t get greedy. Only harvest for as long as you can hold your breath", etc. At some point, the surrounding space becomes dark and the lanterns light up with a yellow light.\r Echo Morgan in her performances often uses Chinese characters or their decomposition to send messages related to the female world, social denunciation or to talk about her history, her family, as well as reflections on nature and climate change, such as: "妇 (Woman) = 女 (Female) + 扫 (Broom), 2016; "Delete" (Shan 删), 2017 ; "Absent" (Quexi 缺席), 2017; "You Have My Blood in You (Ni shenshang liu zhe wo de xue 你身上留着我的血), 2017; "Demolition" (Chai 拆), 2018; "Sea" (Hai 海), 2019; "Human" (Ren 人), 2019; "Disaster (Zai 灾), 2020; "Love Wild Lawn" (Ai Ye Cao 爱野草), 2021."""@en ; write:hasChineseVisualElement ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image , , ; write:usesArtwork . a wd:Q184485 ; wdt:P1132 3 ; wdt:P1476 "权 - Power, Rights, and Authority "@en, "权"@zh, "Quán"@zh-Latn ; wdt:P175 ; wdt:P180 , , , , , , , ; wdt:P186 wd:Q23852, wd:Q266545 ; wdt:P2047 "PT20M"^^xsd:duration ; wdt:P276 ; wdt:P585 "2022-08-19"^^xsd:date ; wdt:P608 ; sch:thumbnailUrl , ; write:calligrapher ; write:description """This performance took place during the "Festival Perform" of Vertheuil-en-Médoc (France) in August 19, 2022. This is the first official performance by Echo Morgan with her sons, who wear t-shirts with the images of "Tao" and "Zen". Face and body of the artist and her children are written with fluorescent paint protest words in French and Chinese, such as: "droit des femmes"; "pouvoir"; "égalité"; "droits des humains"; "droit queer"; "liberté"; "ren quan 人权" (human rights); "nü quan 女权" (women rights); "dongwu quan 动物权" (animal rights); "zhenxiang 真相" (real situation), etc. The Chinese character "quan 权" (power, right, authority) is composed of two parts: "mu 木" (wood) and "you 又" (again/repetition). It is a powerful and symbolic gesture calling for the balance between man made world and the nature. During this twenty minutes live performance, Echo Morgan with her sons, scomposed the two parts of the character "quan 权". Echo Morgan composed the first part of the character "mu 木" (wood) by using local died plants, the giant reeds, and attaching her body on it; while her sons carry the other half of the character "you 又" (again/repetition). During the performance Echo Morgan and her two sons start to run, screaming sentences of protest and shouting about human rights, women's rights, animal rights, LGBT rights, etc. All this is accompanied by background voices broadcasting protest news from all over the world. At one point in the performance, Echo Morgan is hit by a jet of water, thus ending her run and starting to break the "mu 木" character she had built, freeing herself from the giant reed. As the artist herself explained, "using locally-sourced giant reed, I created a sculpture in the shape of this character to convey its profound meaning. Throughout the performance, an audio recording played in the background, recounting the history of the word 权 and blending in protest news from around the world calling for various rights such as human, women's, queer, and animal rights. This added social and emotional context to our actions, as we carried the weight of these important issues on our shoulders while running with the sculpture. Towards the end of the performance, I was symbolically attacked with water, representing the brutal treatment that many activists have faced over the years and across the globe. Through this powerful visual and auditory experience, I aimed to highlight the complex and interconnected nature of power, authority, and rights, urging the audience to reflect and take action. The wood-shaped sculpture symbolised the weight of these issues, while our running embodied the urgent need to address them in our society today. Overall, "权 - Rights, Power, and Authority" was a call for a more equitable and just society, using art as a powerful means of expression and activism.\r This performance conveys two main meanings:\r 1) The artist believes that art should be eco-sustainable. As Echo Morgan herself explains, one life changing her experience was meeting her childhood hero Betsy Damon. As one of the pioneer 1970s eco feminist warrior, Betsy made a promise to herself after a moving land art action - cast two hundred and fifty feet of a dry riverbed with handmade paper. She wrote: “The whole world is patterned by water, yet I know nothing about it.” At that moment, she decided that she will devote her whole life to learn and to protect water. She will only teach art that’s activism and make art that will dissolve in the eco system.\r 2) The artist speaks about human rights. After the pandemic, a brutal war began in Ukraine, as well as a bloody crackdown on protests in Iran. The artist reflects on all the people who are still struggling to survive, to have love and freedom. She's answering questions like: "How can art be the healing power for the society now?". """@en ; write:hasChineseConcept ; write:hasChineseVisualElement ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image , ; write:madeUsingTool wd:Q614467 ; sch:video . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "“Sexual” Calligraphy (“性” 书法)"@en, "\"性” 书法"@zh, "\"Xìng” shūfǎ"@zh-Latn ; wdt:P175 ; wdt:P180 , , , ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P276 ; wdt:P585 "2008"^^xsd:gYear ; wdt:P664 ; wdt:P941 ; write:calligrapher ; write:createsArtwork ; write:description "This performance took place in 2008, when Sun Ping organized a “subversive” (dianfu xing 颠覆性) calligraphy and a workshop called “I Don’t Know” (Wo bu zhidao 不知道). On this occasion, the calligrapher Sun Ping asked his collaborator Luo Shan 罗姗 to use her vagina to “hold the brush” (zhibi 执笔) and write on paper. The content of this calligraphy is the “Orchid Pavilion Preface” (Lanting Xu 兰亭序) written in 353 by Wang Xizhi (303-361). The “vagina font” calligraphy (“Bi- ti” shufa “Bi- 体” 书法) concepted by Sun Ping 孙平 is a new way of interpreting calligraphy, using a brush specially created to be inserted into the female vagina. This type of brush is made by installing a type of sexual tool on top of the classic Chinese calligraphy brush. The installed mechanism prevents the brush from falling from the lower part of the body during the writing process. Luo Shan inserts the tool into the vagina and writes calligraphy through the movement and the tone of the lower body. When writing, the brush movements produce pleasure. Luo Shan is often half-naked and wears particular masks or costumes, as well as various accessories. "@en ; write:hasChineseConcept ; write:hasPerformingArtworkType ; write:hasUnit ; write:madeUsingTool wd:Q10816, wd:Q614467 . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "\"Sexual\" Calligraphy (“性” 书法) - Artwork"@en, "“性” 书法"@zh, "\"Xìng” shūfǎ"@zh-Latn ; wdt:P170 , ; wdt:P180 , , ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2008"^^xsd:gYear ; wdt:P941 ; write:derivesFrom ; write:description "This artwork is produced during the performance \"Sexual\" Calligraphy (“性” 书法). Luo Shan, using a copybook, rewrites the characters of the \"Orchid Pavilion Preface\" composed by Wang Xizhi 王羲之 (303–361) in 353 with a black ink-soaked brush inserted inside her vagina."@en ; write:hasVisualArtworkType ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool , . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "Sculpture Writing - Woman (写经-女)"@en, "写经-女"@zh, "Xiě jīng - nǚ"@zh-Latn ; wdt:P175 ; wdt:P180 , , , ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P2047 "PT2H"^^xsd:duration ; wdt:P276 ; wdt:P585 "2018-02-23"^^xsd:date ; wdt:P941 ; sch:thumbnailUrl , , ; write:calligrapher ; write:createsArtwork ; write:description "In this performance, Li Xinmo writes the content of the Fahua Sutra. She spent about a week before the performance to complete a piece of the text. The Swedish Museum invited her to participate in the exhibition \"The Story of Paper\" and at the opening of the exhibition she goes on to finish the rest of the text during the performance. The 30-meters long volume of the Fahua Sutra in her handwriting hanged in the museum space, and she began to write in an ancient ceremony. Ancient people who copied scriptures were called monks and men. She wants to write Scriptures as a replacement for woman, giving rise to a feminist perspective. In her opinion, Buddha is a symbol of the equality of all living beings, but also transcends gender. Reading and writing Buddhist sutras was her early lesson. The interpretation of the universe and everything in the sutras had an important influence on her thoughts. In her opinion, to become a Buddha is to transcend the existing social shaping, knowledge system and integrate with all things, thus connecting the energy field of the universe."@en ; write:hasChineseConcept ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image , , ; write:madeUsingTool wd:Q614467 ; sch:video . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , , ; wdt:P19 ; wdt:P20 ; wdt:P21 ; wdt:P2561 "Huang Miaozi 黄苗子" ; wdt:P27 ; wdt:P569 "1913"^^xsd:gYear ; wdt:P570 "2012-01-08"^^xsd:date ; wdt:P800 , ; wdt:P812 , ; wdt:P937 , , , ; write:description """Huang Miaozi (1913-2012) is a towering figure in the Chinese art scene. His art blends old and new. Growing up in a Cantonese family in Hong Kong, at the time a British colony. He felt that he lightened the burden of being a British 'subject', by studying Chinese culture. He practiced calligraphy since childhood.\r With the Japanese attack on China in 1932, the eighteen-year-old Huang decided to rush to Shanghai to enlist. After the Chinese government's decision to retaliate the attack, Huang remained in Shanghai, which he saw as the most thriving and cosmopolitan city in Asia, where the arts were also flourishing. Huang worked as a cartoonist and met Yu Feng, his future wife, at the Cartoonists' Club.\r As Japanese attacks intensified, Huang Miaozi followed the shift of the capital to Chongqing, which became China's vibrant cultural center and home to the leading artists and scholars of the time, including Guo Moruo. Besides these scholars, Huang met Zhou Enlai who took a liking to Huang fr his liberal views and sense of humour.\r In the late 1940s Huang returned to Hong Kong. In 1949, shortly after the Communists had secured control of the mainland, he accepted their invitation to return to Beijing. For a while he worked in the new secretariat of the government headed by Zhou Enlai, but soon the opposition to the\r the employment of non-party members in sensitive posts led him to leave government service and take up an editorial job at the People's Fine Arts Publishing House.\r After the "Hundred Flowers Movement" of 1956-7, an anti-Rightists campaign put Huang in a difficult position. The Chongqing group of artists and writers was claimed to include nationalist spies and to plot against the communists. Labeled a "Rightist," Huang was despatched to northeastern China for "reform through labor." Huang was sent back to Beijing after a few months, probably thanks to a personal intervention by Zhon Enlai.\r In Beijing, he wrote artist biographies at the Fine Arts Publishing House. His wife Yu Feng became the director of exhibitions at the newly opened China Art Gallery.The pleasures of the 60s were brief. Within a few years Huang and his wife had fallen victim of the Cultural Revolution. Both were imprisoned in 1968. The years of confinement turned Huang into a calligrapher. He tried to maintain his sanity by composing poems, paintings and calligraphy in his mind.\r After seven years in prison, the couple was released in 1975 and returned home. Huang, now sixty-two, decided to retire.\r In the years of retirement, Huang was inspired by copies of calligraphic masters and worked in his own style for the first time. He used different styles to express his reflections on life and recent event, to enhance the power of each message: archaic characters for calm and reflective moods, powerful cursive characters to convey joy or anger.\r Under the new climate of optimism with Deng Xiaoping's reforms, Huang was offered a spacious apartment in Beijing. In 1983, Huang was made a member of the Chinese People's Political Consultative Conference (CPPCC) along with other scholars and artists who had suffered during the Cultural Revolution. These benefits included visits to Japan as well.\r Huang was artistically attracted to Japan, where calligraphy had already been shaped into modern forms. To him it seemed almost like abstract art created with Chinese ink and encompassed ideas and research that he was already exploring. But the more he saw of Japanese art, the more he felt it lacked both the strength and depth of content of its Chinese counterpart.\r Huang's participation in the controversial Modernist Calligraphy Exhibition held in Beijing in 1985 was\r a more important factor in the further development of his art. "What made Huang's work stand out from many other exhibitions was the lyricism of his characters and the interrelationships between them. He brought a vitality to the ancient characters of seal script by writing them with speed and fluency. Furthermore, he made his works more like paintings by breaking with the tradition of writing characters in regular columns and instead arranging them on paper in freer artistic arrangements (Barrass)."\r \r In 1988 Huang published his first calligraphy book. It contained more than seventy of his works, showing his mastery of the art of calligraphy, which has allowed him to create intriguing effects through the use of different ink densities and varying degrees of brush dryness. Equally important was his ability to combine an exploration of new forms of expression with a deep understanding of Chinese poetry and culture, often marked by a satirical edge. Not only did Huang demonstrated great skill in selecting appropriate quotations from his prodigious knowledge of the classics, but he also wrote poetry in the classical tradition. \r In the late 1980s Huang found himself involved in politics. A few days after the oppression in Tiananmen Square at the end of May 1989, he spoke out strongly in support of the protesters and for this, following the suppression of the demonstrations, Huang and Yu Feng, resentful of being forced to leave the country, fled to Australia.\r Whilst waiting for an opportunity to return home, Huang traveled to Germany in 1992, where he met his young friend Gu Gan. The two arstis were boh visiting fellows at the Heinrich Böll Institute.\r At the end of that year, an exhibition of their works (Huang Miaozi - Gu Gan) was held at the Museum für Ostasiatische Kunst in Cologne. It was the first major modern Chinese calligraphy exhibition held in Europe or the United States. Huang's most memorable piece from this exhibition was Mit diesen Händen ("With These Hands").\r After Germany, Huang and Yu Feng traveled to Great Britain, Italy, France, Switzerland, the United States and South Korea. Finally, they settled in Brisbane in 1993. Huang and Yu Feng appreciated the quality of life Australia offered and had no difficulty keeping abreast of the latest developments in China. \r But they still hoped that the improved political climate at home would allow them to return one day. In 1993, they received a message from the Chinese authorities in which they hoped the couple would return to China. Returning in 1994, Huang and Yu Feng staged an exhibition in Beijing covering the full range of their works.\r The exhibits of Huang's calligraphy included The Twittering Birds, The Flower in the Rough Ground, With these Hands, Great Changes, The Rain-filled Clouds, and The Gentlemanly Scholar, which together presented a clear statement of his views. The opening of the exhibition was a great event, which was attended by the major artists and art historians of the city.\r The interest that Huang's work arouses and the pleasure it brings to so many people is attributable not only to the versatility of his technique, but also to his vast knowledge of the Chinese classics, his profound experience of life and politics, and of course his wicked sense of humor. His characteristic determination to make the best of things was heightened by the tragedies and vicissitudes of his own life. As some Chinese critics have observed, the enduring quality of his work and its "spiritual power" (ling qi 靈氣) is the most appropriate hallmark for a man than Huang's unwavering integrity."""@en ; write:hasCalligraphicTraining "Familial"@en, "Self-Taught"@en ; write:hasWikidataResource . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Filling the World with Love (让世界充满爱)"@en, "让世界充满爱"@zh, "Ràng shìjiè chōngmǎn ài"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , ; wdt:P2048 "2388px" ; wdt:P2049 "1668px" ; wdt:P462 , , , ; wdt:P571 "2021"^^xsd:gYear ; wdt:P608 ; sch:thumbnailUrl ; write:description "\"Filling the World with Love\" is an iPad-based work created in 2021 by Wang Dongling and represents one of the first Chinese calligraphic works using iPad digital technologies. In this digital piece, the artist uses an Apple Pencil to transcribe the lyrics of the famous song \"Rang shijie chongman ai 让世界充满爱\" (Fill the World with Love) by Guo Feng 郭峰 (b. 1986) over a detail of the Mona Lisa image by Leonardo da Vinci. Guo Feng is a prominent Chinese pop singer and composer active since the 1980s, and the song, released in 1986, became an emblematic hymn to peace and collective harmony in post-Mao China. The combination/juxtaposition of the lyrics from one of the earliest Chinese pop songs, a hymn to universal peace, with a famous Western painting functions as a manifesto of intercultural unity, articulating art as a shared aesthetic language across traditions and cultures. The work also reflects a shift in the medium of calligraphic practice. Instead of ink, brush, and paper, the artist employs a tablet interface and a digital pen. These technological devices reinforce how Chinese calligraphy, and its aesthetic logic, can articulate meaning even within the digital age."@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool ; write:usesArtwork ; write:vectorisedOrDigitised true . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "View from Heaven (泰山成砥砺, 黄河为裳带)"@en, "泰山成砥砺, 黄河为裳带"@zh, "Tàishān chéng dǐlì, Huánghé wéi cháng dài."@zh-Latn ; wdt:P170 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P2048 "360 cm" ; wdt:P2049 "720 cm" ; wdt:P462 , ; wdt:P571 "1987-06"^^xsd:gYearMonth ; wdt:P608 , ; wdt:P941 ; sch:thumbnailUrl ; write:description """This artwork includes ten monumental characters in cursive style displayed on four huge panels. The content is a transcription of a poem by Ruan Ji (210-263) on the grandeur of the Chinese panorama seen from the sky. \r The artwork was exhibited for the first time in August 1987 at the National Art Museum of China in Beijing during his first personal exhibition entitled "Exhibition of Wang Dongling's Calligraphy" (Wang Dongling shufazhan 王冬龄书法展). This artwork was later featured in the "China: 5,000 Years, Innovation and Transformation in the Arts" exhibition opened at the Solomon R. Guggenheim Museum in 1998.\r As described in Barrass (2002, p. 166), "Wang would have liked to paint this piece to the sound of Chinese music. but he felt it demanded something more stirring. He finally decided on Dvořák's New World Symphony, playing it at full volume on his recently acquired 'ghetto-blaster' as he took up his huge brush and plunged into the creation of his composition. Wang was amused by the thought that music composed by a European about the American landscape was inspiring a Chinese artist (who at that point had never travelled outside his own country) to create the largest piece of calligraphy ever executed in China." \r In the visual result given by the ten monumental characters of View from Heaven, and in particular in the last character of the verse (dai 带), which is projected onto the entire size of the last panel, we notice the influence by one of the currents of Japanese calligraphic art, called Few-characters current (shao zi pai 少字派) and in particular by Inoue Yuichi (井上有一, 1916-1985) on the art of Wang Dongling, who began writing monumental characters in his studio in 1985.\r """@en ; write:hasVisualArtworkType ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P21 ; wdt:P2561 "Wang Xiaoming 王晓明" ; wdt:P27 ; wdt:P453 ; wdt:P800 ; wdt:P812 ; wdt:P937 ; write:description "He is an associate professor of the China Academy of Fine Arts. He studied art at the Sichuan School of Fine Arts. He took part with Pu Lieping in the performance of 2017 entitled \"Understanding the Twelve Beauty of Jinling\" (领悟金陵十二金钗)."@en ; write:hasCalligraphicTraining "Academic"@en ; write:isCalligrapherOf . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P282 ; wdt:P462 ; wdt:P9302 , ; write:attributedTitle "CWU 3 Cursive - Multiple Projected Traditional Calligraphies (unknown)" ; write:description "This CWU is part of the dancing performance \"Cursive\". It is a series of traditional calligraphies projected as a slideshow in the background during the various performances of the dancers: calligraphies by Wang Xizhi 王羲之 (303–361), Huai Su 怀素 (737–799), Zhang Xu 张旭 (fl. 8th century) and other famous masters of past dynasties are presented to the audience in large scale, merging with the movements of the dancers in the foreground floor. According to the video of the performance, in total there are about twenty-one frame changes of traditional calligraphic works projected throughout the ballet. "@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:relatedUnit , , ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 , ; wdt:P9302 ; write:attributedTitle "CWU 2 Cursive (磐)" ; write:description "This CWU is part of Cursive I dance performance. It consists of the character \"pan 磐\" (hard stone) realized by Tong Yang-tze. The dancer Chou Chang-ning dances in front of the work realized on a panel positioned in the middle of the stage. Her long black sleeves follow the movement of the blank ink in the air, while the body of the dancer emulates the lines of the character itself. "@en ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:madeUsingTool ; write:numberOfCharacters 1 ; write:relatedUnit , , ; write:transcriptionAndTranslation "hard stone"@en, "磐"@zh, "pán"@zh-Latn . a write:CalliWritingUnit ; wdt:P180 ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU 1 Cursive (永)" ; write:description "This CWU is part of the dancing performance \"Cursive \". Zhou Zhangning 周章佞 dances in front of a projection of the character \"yong 永\". This character contains the whole basic variations of brush movements and gesture vocabularies common used in standard style, cursive style and wild cursive style. The projection of yong melted from the regulat script to the cursive script."@en ; write:directionality "Unidentifiable" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:numberOfCharacters 1 ; write:relatedUnit , , ; write:transcriptionAndTranslation "eternal"@en, "永"@zh, "yǒng"@zh-Latn ; write:vectorisedOrDigitised true . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU 4 Cursive ( 《离骚 》)" ; write:description "This CWU is part of the dancing performance \"Cursive\". It is a freeze frame calligraphy which was projected during the performance. It consists of a beitie 碑帖 (a rubbing of an inscribed script on stone) of the white cursive words on a black background reproducing the poem entitled “Li Sao 离骚” (Encountering Sorrow) realized by Mi fu 米芾 (1051–1107). This is an ancient Chinese poem from the anthology Chuci traditionally attributed to Qu Yuan 屈原 (c. 340 – 278). "@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy false ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasSignificance "Meaningful writing" ; write:isUnitOf ; write:numberOfCharacters 2494 ; write:relatedUnit , , ; write:vectorisedOrDigitised true . a wd:Q184485 ; wdt:P1132 3 ; wdt:P1303 ; wdt:P1476 "Desire for Procreation and Life (渴望生命)"@en, "渴望生命 "@zh, "Kěwàng shēngmìng"@zh-Latn ; wdt:P175 ; wdt:P180 , , , , ; wdt:P186 wd:Q11460, wd:Q11472, wd:Q127418, wd:Q23852 ; wdt:P276 ; wdt:P585 "2010-08-14"^^xsd:date ; sch:thumbnailUrl ; write:calligrapher ; write:createsArtwork ; write:description "This musicalligraphy performance is performed by Pu Lieping on August 14, 2010 at the Tap Seac Museum of Art in Macao. Accompanied by a female musician playing the cello, Pu Lieping reflects on the life drive of man and even more of woman, and introduces the element of dance, through a pregnant dancer who accompanies the notes of a cello played by a female musician. The artist writes the four characters \"Shengming zhi yun 生命之韵\" (Rhythm of Life) both on paper and on the pregnant dancer's white clothes. Through this performance, Pu Lieping tries to interpret Chinese character art through the senses of sight, hearing, and body language."@en ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image ; write:madeUsingTool wd:Q614467 . a wd:Q184485 ; wdt:P1132 4 ; wdt:P1303 ; wdt:P1476 "Music and Calligraphy (音乐与书写)"@en, "音乐与书写"@zh, "Yīnyuè yǔ shūxiě"@zh-Latn ; wdt:P175 ; wdt:P180 , , ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P2047 "PT5M"^^xsd:duration ; wdt:P276 , ; wdt:P585 "2008-01-13"^^xsd:date ; write:calligrapher ; write:createsArtwork ; write:description """This performance took place on January, 13 2008 at the Florida Gulf Coast University, during the inauguration of the exhibition “I Am in It: Contemporary Chinese Art Expression” (Zi you wo zai: Zhongguo dangdai yishu biaoxian 自有我再：中国当代艺术表现). The band composed of three guitarists students of the Gulf Coast University of Florida, play the music from the repertoire of George Gershwin and Edward Rizzo. Pu Lieping writes on a roll of paper with brushes of different sizes and soaked in black ink. The calligraphic lines are almost very thin and "vibrate" to the sound of the music during execution, almost as if they were creating a musical score.\r On January 12, 2008 Pu Lieping, the day before the performance, inspired by the music composed by the three students of the Gulf Coast University in Florida, made a preparatory draft on a wrapping paper from the Polo Ralph Lauren brand. The characters, which are broken down and created with a pen, are inspired by the inscriptions on oracle bones. These characters are: shui 水 (water) zhi 止 (to/only) mu 木 (wood) 目 (eye). Animal figures can also be glimpsed in the work, such as deer heads. The lines that make up the draft can be both vertical and horizontal, as if to reproduce the movements of the elements of nature."""@en ; write:hasPerformingArtworkType ; write:hasUnit ; write:madeUsingTool wd:Q614467 ; write:usesArtwork ; sch:video . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Mit diesen Händen (用这双手)"@de, "With These Hands (用这双手)"@en, "用这双手"@zh, "Yòng zhè shuāngshǒu"@zh-Latn ; wdt:P170 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P462 , , , ; wdt:P571 "1992"^^xsd:gYear ; wdt:P608 ; wdt:P941 ; write:description """The artwork "Mit diesen Händen" (Yòng zhè shuāngshǒu 用这双手) was created by Huang Miaozi in 1992 while he was a visiting fellows at the Heinrich Böll Institute in Koln in Cologne, Germany. Together with the Chinese calligrapher and artist Gu Gan, friend of Huang Miaozi, he organized an exhibition of their works, held at the Museum für Ostasiatische Kunst in Cologne at the end of 1992. This exhibition was the first major modern Chinese calligraphy exhibition held in Europe or the United States and Huang's "Mit diesen Händen" represents the most memorable piece from this exhibition. The title of this artwork, inspired by Heinrich Böll's poem "Mit diesen Händen", gave also the name to the exhibition. The artwork reminded Huang Miaozi of the hard times faced while living in China. On the purple print of an open hand, he wrote part of the poem in the archaic Seal Script of the Shang-Zhou period. According to Barrass (2002: 178), this is the only example of his works that Huang refused to sell.\r """@en ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit , ; write:madeUsingTool , . a wd:Q184485 ; wdt:P1132 4 ; wdt:P1476 "Family Tree (家谱)"@en, "家谱"@zh, "Jiāpǔ"@zh-Latn ; wdt:P175 ; wdt:P180 , , , , , , , , ; wdt:P186 wd:Q127418, wd:Q37017 ; wdt:P2047 "PT12H"^^xsd:duration ; wdt:P276 ; wdt:P585 "2000"^^xsd:gYear ; wdt:P608 ; write:createsArtwork ; write:description """In this performance, Zhang Huan invites three calligraphers to write words and phrases on his face . He tells them what they should write and to always keep a serious attitude when writing the texts even when his face turns to dark. His face follows the daylight till it slowly darkens. At the end, his identity disappears.\r Among these words and phrases, there are also those that have overt cultural or political associations, including four characters on his forehead that refer to a well-known fable often invoked by Mao Zedong entitled: "The Foolish Old Man Removes the Mountain" (Yu Gong Yi Shan 愚公移山). This traditional Chinese story is known by all common people and it speaks about a family story. It is about determination and challenge: if you really want to do something, then it could really happen. \r Other phrases are about human fate, like a kind of divination. Your eyes, nose, mouth, ears, cheekbone, and moles indicate your future, wealth, sex, disease, etc. Most words derive from the ancient Chinese art of physiognomy, which seeks to map personality traits and divine the future based on one’s facial features. For example, a line of characters marking the location of moles on his loweforehead includes those for "wife" (fu ren 夫人), "prosperity" (lu 禄), "good fortune" (fu 福), and "guest" (keren 客人), while on the bridge of his nose is the character for "auspicious" (ji 吉). But rather than elucidate Zhang’s character and fate, these traditional divinatory marks ultimately obscure his identity beneath a dense layer of culturally conditioned references.\r Zhang invoked the primacy of his body as a medium of communication: "The body is the proof of one's identity, so the corporeal self is the most essential component in my works. But the way my body is presented in an artwork and the message it carries is entirely determined by my mind. My objective is to establish the relationship between the body and life". \r Because both his body and mind have been conditioned by his race and his upbringing, Zhang's autonomy as an individual is constantly in danger of being overwhelmed by his heritage. His dilemma is that of all artists: how does one continually redefine oneself and reinvent one's art to escape from mere imitation of past models, or the even more insidious danger of self-imitation, in which an artist merely perpetuates his "brand"?\r The identity confusion experienced while living in New York inspired Zhang Huan's Family Tree. Rooted in facial diagrams from the ancient physiognomy text Ma Yi Shen Xiang (The Divine Physiognomy of Ma Yi), the work also draws upon the impassioned brushwork of Draft of a Requiem to My Nephew. The calligraphers wrote his clan and fortune-related characters all over his face, with layers of ink gradually obscuring his facial features.\r Merging traditional Chinese physiognomy and the spirit of family epistles, the piece embodies the perseverance embodied in the legend of "The Foolish Old Man Removes the Mountain". Beneath its imagery lies the anxiety of expatriates grappling with their sense of belonging. It expresses an unwavering resolve: no matter how far one travels in a foreign land, one must hold fast to cultural origins and preserve one’s self-identity.\r In 2001, Zhang Huan played the same performance in Shanghai. This performance is entitled "Shanghai Family Tree". In this performance, he posed with two other people – a man and woman – and their faces were also covered by Chinese characters. The meaning of this performance overwhelms the individuality, defining the person’s association with society.\r In 2015, Zhang Huan played a new version of this performance entitled "Family Tree 2015" during the live-art exhibition "15 Rooms" held in the Long Museum of Shanghai. The performance reproduces the writing process of the original 2000 "Family Tree", but, before the writing performance, Zhang Huan had interviewed twelve men and women born after 1990 to study the life and the dreams of this new generation. Zhang Huan useed the answers given by the interviewees to write them on their faces until their faces slowly darken.\r """@en ; write:hasPerformingArtworkType ; write:hasUnit ; write:madeUsingTool wd:Q614467 . a wd:Q4502142 ; wdt:P1071 ; wdt:P127 ; wdt:P1476 "Luo Qi and Collegium Musicum Almae Matris - Musicalligraphy Performance (洛齐与母校音乐学院) - Artwork"@en, "洛齐与母校音乐学院"@zh, "Luò Qí yǔ Mǔxiào yīnyuè xuéyuàn"@zh-Latn ; wdt:P170 ; wdt:P180 , , , , , , , , ; wdt:P186 , ; wdt:P2048 "150 cm" ; wdt:P2049 "70 cm" ; wdt:P462 , ; wdt:P571 "2019-03-25"^^xsd:date ; wdt:P608 ; wdt:P941 , , ; sch:thumbnailUrl ; write:derivesFrom ; write:description "This long calligraphy was made during the musicalligraphy performance by Luo Qi and Collegium Musicum Almae Matris held at the Library of the University of Bologna dering the opening ceremony of the exhibition \"Luo Qi: Writing Music\" (25/03/2019). The scroll is composed of two sections: the first one is the transcription of the classical music heard by the calligrapher using the Dunhuang Musical score (Dunhuang qupu 敦煌曲谱); the second one is the transcription of the Orchid Pavilion Preface (Lanting Xu 兰亭序) in running script. "@en ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit , ; sch:image ; write:madeUsingTool . a wd:Q17514 ; wdt:P1476 "Ars divina (神工意匠)"@en, "神工意匠"@zh, "Shéngōngyìjiàng"@zh-Latn ; wdt:P170 , ; wdt:P180 , ; wdt:P186 , ; wdt:P276 ; wdt:P462 , , , , , , , ; wdt:P571 "2010"^^xsd:gYear ; wdt:P941 ; sch:thumbnailUrl ; write:description """"Ars Divina (Shengongyijiang 神工意匠)" was created in 2010, when EricTin started experimenting with the use of Chinese characters as the main element in writing pieces. Ars Divina was his first successful attempt at a systematic study of the use of Chinese language in graffiti. In this work, EricTin has created a graffiti piece in Chinese characters sprayed on a public wall in a calligraphic form, shaped on a horizontal scroll (hengfu 横幅) and embellished with colophons and traditional decorative patterns. \r The four characters in the middle, Shengongyijiang 神工意匠, are the main point of interest of the whole composition and give the title to the work. They form a so-called chengyu, which is a prefixed idiomatic expression composed of four characters and generally originating from ancient quotes, mottos and proverbs, frequently used in modern Chinese to concisely convey broader concepts of any nature. This chengyu describes the sublime beauty of works of art (e.g., architectural buildings, paintings, etc.) that cannot (only) be created by human capacities and labour. It reproduces the last verse of a poem by Zhao Puchu (1907-2000), a well-known social activist, Chinese Buddhist leader, and distinguished thinker and calligrapher. The poem is entitled The Byodo-in Temple (Pingdeng yuan 平等院), a famous Buddhist temple established in 1052 in the Kyoto Prefecture (Japan). In this poem, Zhao Puchu describes the ecstatic sensation derived by contemplating the sublime beauty of the main pavilion of the temple. According to the author, such excellence cannot merely be the result of human ability but must have been inspired and surrounded by the divine breath. \r The piece clearly follows the European, and more precisely the German graffiti style and use of color: there is a slight tendency towards wildstyle where the characters are still readable, and a significant use of 3D. The fill-in colors are very simple yet embellished with geometric decorative inlays. The first outline and the thickness of each character are black, the second double outline is red with glow effects, and the final fragmented outline is yellow. The yellow lines suggest the spiral movement of the clouds in the background, which reproduces the yunwen (clouds pattern), a Chinese traditional decorative pattern to which the artist added stylized drips. A dark grey shadow contours the writing and creates a three-dimensional effect through a technique that recalls chiaroscuro. Thus, from a stylistic point of view, this work perfectly imitates the Euro-American graffiti manner, while its composition reproduces the structure of “big character calligraphy” (dazi shufa 大字书法) written on traditional Chinese horizontal handscrolls. This structure is usually composed of a large calligraphy in the middle, a poetic inscription on the right, a colophon on the left, and the artist’s red seals as signatures. Ars Divina has the same layout: a large Chinese character piece stands out in the centre, with a calligraphic inscription of poetic content on the right, the name of the crew written vertically on the left, and the signatures of the author (EricTin) and the crew tagged all around the central writing. \r Another key element of the piece is the calligraphic inscription in the top-right corner. At first sight, it seems a traditional calligraphy written in the running or semi-cursive style (xingshu 行书), but it was not created using the classic tools of Chinese calligraphy: the writers employed spray cans instead of brushes; the ink is replaced by black spray paint; the support is a white wall, instead of paper. The text quoted in the calligraphy is the second stanza of the ancient poem Rouged lips (Dian jiangchun 点绛唇). It was composed by Wang Yucheng (954-1001), a famous scholar of the Song Dynasty (960-1279), during one of his exiles in the South of the Empire, after being dismissed from his government position due to strong criticism against the policies of the time. In the poem, he expresses his sadness and despair, with nature becoming the mirror and voice of his deepest feelings: empathy with nature, pain for the unjust exile, pervasive loneliness and idyllic scenes are the central themes of the poem. These are recurrent themes in China’s lyric poetry of all times, and through this work they are revived in a fragment of contemporary urban art. \r In this work, the strict relationship between calligraphy and poetry is highlighted in the calligraphic inscription on the top-right corner. According to the calligraphic aesthetics principles, the text was written in a style between regular script (kaishu 楷书) and running script (xingshu). The text is the second stanza of a poem entitled "Rouged Lips" by Wang Yucheng (954-1001). The two poems (The Byodo-in Temple by Zhao Puchu and Rouged Lips) have opposite functions: the first is to create a parallel between graffiti art and the other forms of art pervaded by the “divine breath”; the second is to narrate the loneliness and sadness that the artist himself is experiencing, as the crew will shortly afterwards begin to split up. In addition to the use of poems, Chinese characters and calligraphy, a red decorative motif in the bottom-right corner also makes reference to traditional Chinese models. Its outline recalls the swirling and sinuous “turbulent ocean waves” (ping shui 平水) that usually decorated the hem of imperial court robes of the Qing dynasty, while the web of lines within evokes the motif of “vertical waters” (li shui 立水), rising from the deep sea right beneath the waves, composed of zigzagging coloured strips that started from the hemline of the robe. Moreover, the obsessive repetition of tags has the main purpose of balancing Chinese traditional aesthetics with western graffiti culture.\r In the continuous struggle between Chinese traditional aesthetics and Western graffiti culture, the obsessive repetition of tags has the main function to realize a perfect counterbalance. Writing six different individual/crew tags,EricTin links his work to the Euro-American graffiti writing tradition, where obsessive repetition of tags is a hallmark of the whole movement. But in writing tags, he pondered the use of Latin letters and Chinese characters in order to balance the two hemispheres. EricTin uses Chinese characters for the tag of the crew, Guanyin 观音, written in simplified characters and in running script on a vertical column in the top-left corner, and also for the shorten tag of the crew, Guan 觀, written in traditional characters and in regular script on the bottom right of the central graffiti piece. Instead, he uses the Latin letters for the extensive tags of the crew ‘Kwanyin’ and of the writer ‘Erictin’ written symmetrically in yellow capital letters below the graffiti piece, one on its bottom right and one on its bottom left; and also for the shorten tag of the writer ‘Tin’ written in thick white capital letters on the top-right corner of the central graffiti piece. The ‘TIN’ tag written in Latin capital letters is also intermingled with the big characters of the central piece, so creating a visual content that shows a real fusion between Chinese and Western cultures and between traditional and modern patterns."""@en ; write:hasChengyu true ; write:hasChineseConcept , ; write:hasChineseVisualElement , , , ; write:hasColophon true ; write:hasGraffitiGenre ; write:hasGraffitiStyle , , ; write:hasGraffitiType ; write:hasSeal false ; write:hasUnit , ; sch:image ; write:madeUsingTool . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Wang Dongling: The Bamboo Path (王冬龄：竹径)"@en, "王冬龄：竹径"@zh, "Wáng Dōnglíng: Zhú jìng"@zh-Latn ; wdt:P1640 , , ; wdt:P276 , ; wdt:P580 "2017-08-12"^^xsd:date ; wdt:P582 "2017-11-12"^^xsd:date ; write:description """"Wang Dongling: The Bamboo Path" (Wang Dongling: Zhu jing 王冬龄：竹径) was held in August 2017 at the OCT-Contemporary Art Terminal (OCAT) Shenzhen Pavilion (OCAT深圳馆艺术个展), in Halls A and B of OCAT Loft in Shenzhen. The exhibition consisted of three distinct parts:\r - Hall A featured an immersive installation with 201 five-meter-tall green bamboo stalks inscribed with Wang Dongling's calligraphy. The warehouse-shaped space was transformed into a bamboo grove, lending the exhibition its title.\r - Hall B showcased a large-scale calligraphy work in "chaos script" on paper (8.4 x 5.5 m). The artist vertically inscribed excerpts from poems by Ruan Ji and Ji Kang, creating a piece that, when displayed on the wall, resembled a majestic waterfall. Also in Hall B, Wang exhibited 100 pieces of ink abstraction along with a video documenting his calligraphic process.\r Throughout the exhibition, bamboo served as the primary medium for Wang's calligraphic expressions. Additionally, transparent propylene panels inscribed with white acrylic paint were interspersed among the bamboo stalks. This interplay between calligraphy and bamboo invited viewers to experience a dynamic dialogue between art and nature as they wandered through the grove."""@en ; write:exhibitedArtwork . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Share the Peripatericism: Calligraphy Exhibition by Wang Dongling (共逍遥——王冬龄书法艺术展)"@en, "共逍遥——王冬龄书法艺术展 "@zh, "Gòng xiāoyáo——Wáng Dōnglíng shūfǎ yìshù zhǎn"@zh-Latn ; wdt:P1640 , , ; wdt:P276 , ; wdt:P580 "2007-12-03"^^xsd:date ; wdt:P582 "2007-12-09"^^xsd:date ; wdt:P664 , , , , ; write:description """"Share the Peripateticism: Calligraphy Exhibition by Wang Dongling" was Wang Dongling's third solo exhibition at the National Art Museum of China (NAMOC). The exhibition opened on December 3, 2007, in Halls 1 and 8 of the museum. It was distinguished by two key aspects. First, the calligraphic works drew inspiration from great Chinese classical texts, including The Book of Changes, The Analects of Confucius, Dao De Jing (Laozi), Zhuangzi, and Tan Jing (坛经), as well as The Book of Songs, Li Sao, Tang poetry, and Song lyrics. Second, the exhibition integrated modern artistic concepts to convey the profound spirit of traditional Chinese calligraphy.\r Hosted by the National Art Museum of China, the exhibition was organized with support from the Publicity Department of the CPC Zhejiang Provincial Committee, the Association of Chinese Calligraphers, the Zhejiang Federation of Literature and Art Circles, and the China Academy of Art. The exhibition was curated by Gao Shiming (高士明), with Xu Jiang (许江) as artistic director and Fan Di’an (范迪安) as academic director.\r \r """@en ; write:exhibitedArtwork . a wd:Q7725634 ; wdt:P1476 "Diagram of the Battle Formation of the Brush (笔阵图) "@en, "笔阵图"@zh, "Bǐ zhèn tú"@zh-Latn ; wdt:P50 ; write:description "Wei Shuo 卫铄 (272–349), later renowned as Madame Wei (Wei furen 卫夫人), is traditionally credited as the author of the treatise \"Diagram of the Battle Formation of the Brush\" (Bi zhen tu 笔阵图), In this work, Madame Wei studied the theory of flow and the principles of calligraphy, emphasizing the importance of the brush, ink, and inkstone for grinding and preparing the ink. She also illustrated seven methods of holding the brush and their effects. This treatise outlines her views on what constitutes good handwriting and is among the earliest works to analyze the essence of brushworks and brush strokes."@en . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Zhuangzi · Wandering Beyond (庄子 · 逍遥游) - Artwork"@en, "庄子 · 逍遥游"@zh, "Zhuāngzǐ · Xiāo yáo yóu"@zh-Latn ; wdt:P170 ; wdt:P180 , ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2003-11"^^xsd:gYearMonth ; wdt:P608 ; wdt:P941 ; write:derivesFrom ; write:description "This artwork is the result of the performance which took place on the occasion of the \"Edge of The Earth\" - Asian Contemporary Art Invitation Exhibition (“Di zhi yuan” - Yazhou dangdai yishu yaoqing zhan \"地之缘\" - 亚洲当代艺术邀请展) held in Hangzhou, China, in November 2003. Wang Dongling wrote in cursive script some characters belonging to the first chapter of the Zhuangzi on propylene panels with white acrylic paint."@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a wd:Q184485 ; wdt:P1132 8 ; wdt:P1476 "Ink Dance on the West Lake - Dialogue between Calligraphy and Dance (墨舞西湖—书法与舞蹈的对话)"@en, "墨舞西湖—书法与舞蹈的对话"@zh, "Mò wǔ xīhú—shūfǎ yǔ wǔdǎo de duìhuà"@zh-Latn ; wdt:P175 ; wdt:P180 , ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P2047 "PT20M"^^xsd:duration ; wdt:P276 , ; wdt:P585 "2011-10-31"^^xsd:date ; wdt:P941 ; sch:thumbnailUrl ; write:calligrapher ; write:createsArtwork ; write:description """This performance by Wang Dongling was held the 31st of October, 2011 at the Zhejiang Art Museum of Hangzhou. Accompanied by classical music, seven male and female dancers dressed in white dance gracefully to outline vigorous and powerful calligraphic characters, while Wang Dongling shapes large Chinese characters on a huge white scroll. The choreographies were created by the female choreographer Cui Wei 崔巍 (b. 1966). The content of the calligraphy realized by Wang Dongling is one of the two poems entitled “Drinking on West Lake First Shine After the Rain” (Yin hu shang chu qing hou yu 饮湖上初晴后雨) by Su Shi 苏轼 (1037-1101, better known as Su Dongpo 苏东坡), an eminent poet of the Song dynasty (960-1279). The poem describes the beauty of West Lake in Hangzhou, China, after a rain. It evokes vivid images of nature, highlighting the scenic beauty of the lake and its surroundings and reflecting on the interaction between man and nature. Characters are written in cursive script (cao shu) and praise the beauty of West Lake (Xihu 西湖). In the background, three large-scale calligraphic works previously created by Wang Dongling himself are also hung on the walls: “Wandering Beyond: III” (San xie ‘Xiao yao you’ zhi ben shuimo 三写 ‘逍遥游’ 纸本水墨, 2011); “Big Scale of the Heart Sutra” (Ju fu dacao ‘Xinjing’ 巨幅大草 ‘心经’, 2011) and “Impression After Visiting Pyramids in Egypt” (Guan aiji jinzita ganhuai zhi ben shuimo 观埃及金字塔感怀 纸本水墨, 2011). In this performance, the dialogue between the three arts (calligraphy, music and dance) is very rich:\r 1. Calligraphy created by Wang Dongling during the performance, dialogues with the other calligraphies already realized previously, creating a “traditional” calligraphic fusion between all of them in a contemporary context.\r 2. Traditional Chinese music accompanies the bodies of the dancers who perform their movements using contemporary dance techniques, while Wang Dongling performs a traditional but still contemporary calligraphic work.\r 3. Dancers dressed in white, like flying paper, dialogue with the black of the brush and the ink of Wang Dongling’s calligraphy following the rhythm of music.\r """@en ; write:hasChineseConcept ; write:hasMusicStyle ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image ; write:madeUsingTool wd:Q614467 ; write:usesArtwork . wd:Q207849 rdfs:label "acrylic paint" . wd:Q97722170 rdfs:label "inflatable ball" . rdfs:label "CAFA Art Museum" ; wdt:P625 "Point(116.465065 39.984369)"^^geosparql:wktLiteral . rdfs:label "newspaper" . rdfs:label "print" . rdfs:label "The Foolish Old Man Removes the Mountain" . rdfs:label "modernity" . rdfs:label "Fung Ming Chip" . rdfs:label "Zhejiang Art Museum" . rdfs:label "animation" . rdfs:label "sound" . rdfs:label "The Literary Mind and the Carving of Dragons" . rdfs:label "humanity" . rdfs:label "artificial intelligence" . rdfs:label "Chongqing" ; wdt:P625 "Point(106.50694444444 29.55)"^^geosparql:wktLiteral . rdfs:label "798 Art Zone" ; wdt:P625 "Point(116.487871 39.984749)"^^geosparql:wktLiteral . rdfs:label "canvas" . rdfs:label "Great Wall of China" ; wdt:P625 "Point(116.56444444444445 40.43138888888889)"^^geosparql:wktLiteral . rdfs:label "printing plate" . rdfs:label "repetition" . rdfs:label "dialogue" . rdfs:label "ivory" . rdfs:label "abstraction" . rdfs:label "seal" . rdfs:label "Stockholm" ; wdt:P625 "Point(18.068611111111 59.329444444444)"^^geosparql:wktLiteral . rdfs:label "illusion" . rdfs:label "Germany" ; wdt:P625 "Point(10 51)"^^geosparql:wktLiteral . rdfs:label "diary" . rdfs:label "disorientation" . rdfs:label "Carpe diem" . rdfs:label "luck" . rdfs:label "wish" . rdfs:label "nonsense word" . rdfs:label "Ink and wash paintings in China" . rdfs:label "music of China" . rdfs:label "wine" . rdfs:label "environmentalism" . rdfs:label "multicolored" . rdfs:label "oil paint" . rdfs:label "fluidity" . rdfs:label "Qu Yuan" . rdfs:label "Jingdezhen" ; wdt:P625 "Point(117.203611 29.294167)"^^geosparql:wktLiteral . rdfs:label "labelling" . rdfs:label "nude" . rdfs:label "technology and society" . rdfs:label "natural environment" . rdfs:label "Chambers Fine Art" ; wdt:P625 "Point(-74.00716 40.745732)"^^geosparql:wktLiteral . rdfs:label "Braidense National Library of Milan" ; wdt:P625 "Point(9.187837 45.471947)"^^geosparql:wktLiteral . rdfs:label "helping behavior" . rdfs:label "insult" . rdfs:label "fraternity" . rdfs:label "Shantou" ; wdt:P625 "Point(116.68222222222222 23.35388888888889)"^^geosparql:wktLiteral . rdfs:label "San Francisco" ; wdt:P625 "Point(-122.41944444444445 37.775)"^^geosparql:wktLiteral . rdfs:label "yin and yang" . rdfs:label "Berlin" ; wdt:P625 "Point(13.383333333333 52.516666666667)"^^geosparql:wktLiteral . rdfs:label "New English Calligraphy" . rdfs:label "ecology" . rdfs:label "globalization" . rdfs:label "A Dream of Red Mansions" . rdfs:label "horse" . rdfs:label "Italian opera" . rdfs:label "blood" . rdfs:label "earthquake" . rdfs:label "happiness" . rdfs:label "human penis" . rdfs:label "pain" . rdfs:label "Lotus Sutra" . rdfs:label "gold" . rdfs:label "video" . rdfs:label "Contemporary dance" . rdfs:label "Dance company" . rdfs:label "blue and white porcelain" . rdfs:label "ink wash painting" . rdfs:label "square word calligraphy" . rdfs:label "three perfections" . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "From Inception: Wang Dongling 60 Years of Calligraphy (从头开始 : 王冬龄书法艺术60年)"@en, "从头开始 : 王冬龄书法艺术60年"@zh, "Cóngtóu kāishǐ : Wáng Dōnglíng shūfǎ yìshù 60 nián"@zh-Latn ; wdt:P175 ; wdt:P180 ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P276 , ; wdt:P585 "2021-10-16"^^xsd:date ; wdt:P608 ; sch:thumbnailUrl ; write:calligrapher ; write:createsArtwork ; write:description """In occasion of the opening performance of his solo exhibition “From Inception: Wang Dongling 60 Years of Calligraphy" (从头开始 ——王冬龄书法艺术60年), Wang Dongling created an innovative piece titled "From Inception" (Cong Tou Kai Shi 从头开始 ). The artist combined traditional tools and material, i.e. the brush and the black ink on xuan paper, with modern technology. The artist used a full-body motion capture system (全身动作捕捉系统), also known as mo-cap suit (motion capture suit). This wearable device recorded Wang's body movements, converting them into digital data to create a unique digital work. This blending of classical calligraphy with contemporary digital technology showcased Wang's pioneering approach and the dynamic evolution of his art form over six decades.\r During the performance, 23 scrools forming the Dao De Jing have been used. These pieces consists of an installation featuring 23 massive scrolls with excerpts from the "Classic of the Way and Virtue" (Dao De Jing 道德经) written with black ink on xuan paper by the artist. These scrools, measuring 9 meters in length each and suspended at a height of 2.5 meters above the ground, descend from above and are arranged to create a visual reminiscent of an ancient forest of stone steles fallen from the sky. The monumental presence of these scrools with words of ancient wisdom imbues the space with a sense of vastness and weight."""@en ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image ; write:madeUsingTool wd:Q28136501, wd:Q614467 ; write:usesArtwork . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Chen Guangwu 陈光武" ; wdt:P27 ; wdt:P569 "1967"^^xsd:gYear ; wdt:P800 , , ; wdt:P937 ; write:description """Chen Guangwu is a prominent Chinese artist. Born in Guangxi, 1967, Chen's artistic journey began at a young age, driven by a passion for traditional Chinese art forms. Trained at the [Name of Academy], Chen's artistic vision merges traditional calligraphy with contemporary sensibilities, resulting in dynamic and expressive artworks that push the boundaries of the art form. Chen Guangwu's artworks have been exhibited extensively both in China and internationally, garnering acclaim for their innovation and artistic vision. Through a diverse range of materials and techniques, from traditional ink brushwork to experimental digital methods, Chen creates compositions that captivate viewers and challenge conventional perceptions of Chinese calligraphy. His works often feature abstract and experimental elements, exploring concepts of movement, space, and form within the realm of calligraphic expression.\r Chen Guangwu's innovative exploration of repetition, layering (overwriting, rewriting), and deconstruction forms the core of his creative process. The essence of Chen's artworks can also be divided into these three main categories (Iezzi 2014, p. 439-440): i) the repetition of a single character until space saturation, ii) the layering of different words overlaid, and iii) the breakdown of characters into their component parts, followed by their multiple reiterations. """@en ; write:hasCalligraphicTraining "School"@en ; write:hasWikidataResource . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P21 ; wdt:P2561 "Yumi" ; wdt:P27 ; wdt:P361 ; wdt:P800 ; write:description """Yumi is among the founding members of the Kwanyin Clan 观音, established in June 2006 in Beijing’s 798 Art District together with Eric Tin (a.k.a. Tin), Quan, and Jer (Jeer).\r He took part in the creation of the artworks "Landscape Painting PIC" (Shanshui 山水PIC) and "The Entire World Celebrates" (Putiantongqing (普天同庆). For this piece, commissioned by Adidas for the 2010 FIFA World Cup advertising campaign, Yumi used brush and tempera on a leather football to produce an extreme grey-and-white wildstyle composition based on the two Chinese characters cuju 蹴鞠 (ancient Chinese football)."""@en ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:hasTag "YUMI"@en ; write:isDesignerOf . a wd:Q17514 ; wdt:P1476 "New Style (竹）"@en, "竹"@zh, "Zhú"@zh-Latn ; wdt:P170 , , ; wdt:P180 ; wdt:P186 , ; wdt:P276 ; wdt:P462 , , , , , , ; wdt:P571 "2008-07"^^xsd:gYearMonth ; sch:thumbnailUrl ; write:description """The piece entitled "New Style" relates to bamboo painting (zhuhua 竹 画), a type of art that has always played a leading role in China, being second only to landscape painting. In painting bamboos, which represent the scenic backdrop of the work, EricTin and Natuo, the authors of the piece, were strongly influenced by traditional canons that tend to emphasise “the lithe grace of its stalk and the dashing sword-point of its leaves” (Sullivan 1967, 215). The bamboo was itself a symbol of the true gentleman (junzi 君子), pliant yet strong, who maintains his integrity unsullied no matter how low the adverse winds of circumstance may bend him. The light grace of its stalk and the dashing swordpoint of its leaves offered the perfect subject to his brush. \r Even if in drawing bamboo EricTin and NaTuo have been strongly influenced by traditional canons, they do not follow traditional standards in the compositional arrangement. The bamboos do not constitute the core of the composition, as one would expect, but are replaced in their pre-eminent function by a lettering piece placed at the center: bamboos are only the scenic backdrop that frames the main subject. \r Still, there is a significant correspondence between the lettering piece and the bamboos in the background: the shades of green used for the lettering are the same as the bamboos; the four interlocking letters KYGS (the acronym for KwanYin Graffiti Studio) are reproduced through extreme (almost indecipherable) wildstyle and numerous 3D effects, with the sole intention of reproducing the knottiness of the bamboos. Furthermore, at the center of the piece, EricTin inserted a yellow sphere with the traditional character Guan 觀 (the first character of Guanyin), a recurring element in his pieces. The sphere has the same colors as the ones of thin pinnacles sprouting from the green letters: they seem to replicate the stylized "foliage" of the bamboos. So even if the lettering piece in the foreground is much more important than the bamboos in the background, similarities between these two elements tend to merge them into a single entity. The use of green color helps to create this unity but it is very unusual in this kind of painting. In traditional bamboo paintings, in fact, the artists always used monochrome ink in order to shape an "ink bamboo painting" (mozhuhua 墨竹画). The use of monochrome ink in this king of painting is crucial because it "brought the painter closest to that most difficult of arts, calligraphy" (Sullivan 1967, 215). In New Style, the use of green recalls another artistic tradition, not Chinese but Western, the tradition of Western realism, based on a steadfast devotion to color truth.\r The colours (various shades of green) and the angularity of the central writing also recall the greenish patina and the typical protruding and richly worked surface of ancient Chinese ritual bronze vessels (qingtongqi 青铜器), which, as EricTin explains in his blog, are the real source of inspiration for the piece. This is evident not only in the choice of colors, but also in the "angularity" of the lettering piece "patterned with ridges" that replaces the typical ribbed surface of bronze vessels. The presence of mist is another reference to traditional Chinese painting.\r The mist usually never fails in Chinese paintings, but here: i) it is painted in white color and without leaving empty spaces as usually happens in traditional artworks; and ii) it hides the awkward junctures of bamboo, the opposite of what used to happen in painting bamboo where "the awkward junctures of bamboo cannot be hid in mist as in landscape painting" (Sullivan 1967, 215). \r The format of the work, reminiscent of both Chinese handscroll papers (or large album leaf, one of the main format of Chinese painting) and big western canvases (the typical support of Western art, especially if you see the work from a long distance), and the use of both letters and characters, represent points of contact between the Chinese and western traditions. In fact, in the bottom left-hand corner, the name of the two authors (EricTin and NaTuo) and of the crew (Kwanyin) are written horizontally in Latin letters and the year of the execution (2008) is reported in Arabic numbers; while vertical Chinese characters are used in the top left-hand corner for the group’s tag (Guanyin 觀音), inside the yellow sphere at the centre (Guan 觀), and finally on the right edge in the calligraphic inscription. \r The use of Chinese characters is also reiterated in the calligraphic inscription on the right side of the work and displayed in two vertical columns to be read from right to left and from top to bottom. The inscription is written in xingcao 行草 style, a style of handwriting between the running (xing 行) hand and the cursive (cao 草) hand. \r The content of the calligraphy is a couplet: "Buried in the earth it already has a culm, reaching into the sky it is still open-minded". The two lines quoted by EricTin are from a poem entitled "On Bamboo" (Zhu 竹). The author of this poem is Zheng Xie 郑燮 (1693-1765), commonly known by his pseudonym as Zheng Banqiao 郑板桥, a famous poet, painter and calligrapher of the Qing Dynasty (1644-1911) who was particularly skilled at drawing bamboos combining painting and calligraphy. The short poem is a hymn to the qualities of the perfect gentleman (junzi 君子), of whom the bamboo has always been the personification. The modesty, honesty, uprightness and open-mindedness of the perfect Chinese gentleman are expressed by the straightness, flexibility and malleability of bamboo, its ability to resist the elements, bend and never break, and its “hollow structure” (xu xin 虚心, lit. empty heart). In the Chinese philosophical meaning, such hollowness is the absence of ties and desires, and thus indicates inner peace and humility; the readiness of mind needed to understand the world, without constraint and according to the principle of spontaneity. The purpose of using Zheng Xie’s poem is to create an ideal connection between the ancient Chinese literati – the perfect gentlemen – and contemporary graffiti writers, here represented by the members of the Kwanyin Clan. According to the content of this poem, in his paintings, the bamboo trunks, stems and leaves are usually lean but strong, so embodying the playfulness and spontaneity of a "man of letters". The couplet by Zheng Xie is paraphrased from the third and fourth lines of another poem composed by the Song poet Xu Tingyun 徐庭筠 (1095-1179) entitled "Ode to Bamboo" (Yong zhu 咏竹). Even if there are also some little differences among the three versions of the couplet, all of them focus on the qualities of the perfect literati (junzi) symbolised by the bamboo. The bamboo, in fact, grows straightly and keeps green in winter (wei chutu qian xian you jie 未出土前先有节), which is an indication of its firm and tenacious character; it is hollow inside (wu xin 无心 "without a core"), so it is regarded as "honest and upright" (xu xin 虚心); and even in winter, its leaves rustle in the wind, "reaching the clouds" (lingyun 凌云), while it still stands straight on its deep roots (shenchu zong 深处总), symbolising great modesty (xu xin). The depiction of the bamboos and the transcription of the couplet are two expedients to create a connection between the ancient Chinese literati-painters, who were used to painting bamboo and composing poems on his gentleman qualities, and the contemporary Chinese graffiti writers (such as EricTin and Natuo), who can do exactly the same things (as demonstrated in New Style), but using different modern tools (spray painting on wall).\r Viewed in this light, also the chain of citations triggered by the couplet is another erudite device to link the past to the present. In this work, the link to the past tradition is also underlined by the simultaneous use of painting, calligraphy, and poetry, the so-called "three perfections" (sanjue 三绝). In the past, bamboo painters were accustomed to i) inscribing a poem that accompanied the painting and further elucidated its motif; ii) shaping calligraphy and painting with the same brushstrokes; and iii) reflecting in calligraphy similar moods and states of awareness expressed in poetry. According to this past tradition, in New Style: i) the content of the poem referred to the symbolic meaning of the painted bamboo; ii) both calligraphic inscription and lettering piece are shaped with entangled lines, and because of their complex styles (cursive style and wildstyle, respectively), they are equally incomprehensible; iii) the vertical columns of the calligraphy and its cursive "brushstrokes" respectively reproduce the straight stalk of the bamboo and the dashing sword point of its leaves described in the poem. So, here the traditional triad of poetry, calligraphy and painting was perfectly recomposed in a contemporary framework, using a "new style", as it has been declared in the work’s title."""@en ; write:hasChengyu false ; write:hasChineseConcept , ; write:hasChineseVisualElement , , , , ; write:hasColophon true ; write:hasGraffitiGenre ; write:hasGraffitiStyle , , , , ; write:hasGraffitiType ; write:hasSeal false ; write:hasUnit , ; sch:image ; write:madeUsingTool . a wd:Q1400264 ; wdt:P2561 "BJPZ crew 北京喷子" ; wdt:P276 , , ; wdt:P527 ; wdt:P571 "2006"^^xsd:gYear ; wdt:P800 , ; wdt:P973 ; sch:thumbnailUrl ; write:description """The Beijing Penzi (BJPZ) was the first crew established in the city of Beijing. It was founded in 2006 by Li Qiuqiu (a.k.a. 0528), More (a.k.a. Mo), Soos and Als (from France), and was joined, two years later, by Zak, Quer and Corw. If truth be told, the date of their foundation is not entirely certain: in one interview, Li Qiuqiu states that it was around 2005, in another it was 2006, and on one of their blogs they mention February 2007. This is due to the informal nature with which the crew was formed: they are a group of friends who met almost by chance and share a passion for graffiti and (in several cases) skateboarding, which was the reason for their collaboration. 41-year-old More, whose real name is Wang Mo, recounts that he met Li Qiuqiu, the crew’s veteran, through skateboarding, and that the Beijing Penzi crew was born out of their desire to do something together. Zak, whose real name is Zhang Lei, says that the idea to join the crew came after meeting More at his friend’s Soos’ birthday party. Only later did he have the opportunity to get in touch and hang out with Li Qiuqiu. In short, the foundation of this crew springs from a series of fortuitous and fortunate coincidences. \r Beijing Penzi is an all-round crew. As authors of both elaborate pieces and night-time bombing (which they love the most), the crew members collaborate with famous brands, and also create socially motivated works. They use both the Latin alphabet and Chinese characters in their large-scale works as well as in their tags or lettering on the side of their pieces, and all three Chinese co-founders of the crew (0528, Soos and More) write in both Latin letters and Chinese characters. Moreover, many figures animate the pieces of these writers, not only the large works but also the quick acts of street bombing, always with a keen eye on bringing out their Chinese cultural background. Still, the presence of the French artist Als proves the internationality and openness of the crew. Als undoubtedly influenced the development and evolution of the style of the entire group with his western background. \r In the words of Li Qiuqiu (interview 2016), the name Beijing Penzi 北京喷子, which means “Beijing writers”, was chosen because the term "penzi" – literally meaning “sprayer, atomizer” and, by extension, “writer” – is used in the Beijing dialect to refer to a garrulous person, and is also the name of a firearm. These two meanings tell us a lot about why the crew was created and what its programmatic aim is. As a matter of fact, according to Li Qiuqiu “[…] We would often have fun bombing together with friends, and so we decided to start our own crew” (interview 2016). The idea behind the crew is therefore to reproduce a loquacious expressiveness that floods the audience of passers-by with a thousand words, using the force of a gunshot, but replacing bullets with written messages. What unites the members of the group is the pleasant sense of fulfilment that bombing gives them. The name of the crew also reveals their background and other purposes that hold them together: "It’s not difficult to understand, from the name of our crew, that we come from the streets. We grew up immersed in the underground culture and we want to carry it forward and promote it. We wish to change the perception of graffiti art and make sure that graffiti is no longer seen as scribbles on the walls but can be accepted and appreciated by everyone. […] Our aim is to make graffiti in as Chinese a style as possible. All over the world graffiti is made using the English alphabet, but ours is not. In our works, we want to represent traditional architecture, the faces of Chinese people […] and Chinese writing, which is unique in the world. We don’t care what others may think of us, this is what we want to keep doing. That’s what graffiti is for us: we “play” with our culture. After all, we are “the Beijing writers” (Beijing penzi) and our background comes from the city most steeped in culture in all China" (interview 2016).\r The BJPZ tags covered the city of Beijing especially the 3.3 underground car park in the Sanlitun neighbourhood, the 798 Art District, the overground Wudakou line, Nanluoguxiang street in the city centre, the Dawang bridge and the Xinjiekou area, as well as some of the main highways connecting the city, more precisely on Third and Fourth Ring Road North and the Third Ring Road West. Besides the traditional tagging-up, the 3D or bubble style throw-ups, and some bubble style blockbusters (mostly with the name Beijing Penzi), the crew members enjoyed playing with puppets or easily recognizable stylised figures in writing their tags. 0528 draws young boys' faces with oblong heads and typical Chinese features; More, whose tag seems to reproduce a flattened face with a beak and two large ears, adds a fun cone-shaped puppet with two prominent incisors and round ears; and Soos paints a Xiao R (小 R, Young R), a puppet with a flame-shaped head featuring only two dots serving as eyes, tapering hands and feet, and a stout body. This puppet is reminiscent of the shape of a virus whose task seems to be that of infesting the streets. When painted together with More's puppet, Xiao R is often accompanied by swirls and a beating heart, as a clear reference to the passion bonding these strange characters. The swirls, called xiandao 线道, literally "roads of lines", are a second recurring feature in Soos' works. They became his signature style, together with another element he invented, the "jellyfish clouds" (shuimo yiyun 水母意云): little cloud-shaped floral outgrowths arising from the tentacles of a jellyfish. The idea of the jellyfish is echoed in the sinuosity of the stems of these strange pom-pom flowers. The inspiration for the jellyfish clouds comes from the Kongming deng 孔明灯, a type of oil lamp with steam vents invented by one of the greatest strategists of ancient China, Zhuge Liang (181-234), whose public name was Kongming. The jellyfish clouds, together with Chinese writings, faces, and architectures, are meant to enhance a sense of "Chineseness", often expressed in BJPZ's works.\r In addition to pieces with a strong social content, Beijing Penzi has created several works on commission. The crew has collaborated with various brands, like Tiger Beer (part of Heineken Pacific Asia), Lee Jeans, Casio G-Shok (a wristwatch brand), Adidas, Nike, Panasonic and Haier (a Chinese home appliance company). We should also remember that this crew had a commercial orientation even before it was founded: as early as 2001, Li Qiuqiu and his friends created a brand called Shehui 社会 (Society) linked to the world of skateboarding, with the purpose of promoting events, activities and products connected with spreading this sport in China along with its related cultural industry (see the artwork "Society" by Li Qiuqiu). A few years later, together with the other members of the crew, Li Qiuqiu opened a design studio in Caochangdi – one of the most important art districts in the capital – where he could sell his art, write graffiti on commission, and keep decorating skateboards and other similar objects. \r Therefore, the goal of their art is to develop a style that mirrors their Chinese origins. Indeed, in their works we find pieces in Chinese characters, Chinese writing and figurative elements that constantly recall the world of “China” (see the artworks "R.I.P. 512 Sichuan Eartquake", "My Way of playing basketball is born on the street" and "Please no graffiti") ."""@en ; write:hasArtisticCollectiveType ; sch:image . a wd:Q184485 ; wdt:P1132 3 ; wdt:P1303 ; wdt:P1476 "Journey Towards the Spring of Italy - A Journey of a Thousand Miles Begins with a Single Step (千里心行始于足下)"@en, "千里心行始于足下"@zh, "Qiānlǐ xīn xíng shǐ yú zúxià "@zh-Latn ; wdt:P175 , , ; wdt:P180 , , ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P276 ; wdt:P585 "2011-02-09"^^xsd:date ; wdt:P941 ; sch:thumbnailUrl , ; write:calligrapher ; write:description """This theatrical performance took place during the Chinese New Year of 2011 at the Teatro dal Verme in Milan. The actors are the calligrapher Silvio Ferragina, along with contemporary dance choreographer Olivia Kwong accompanied by the sound of the flute played by musician and composer Alessandro Cerino. The performance consists of two different moments: 1) initially, Silvio and Olivia Kwong perform dance steps while both hold a large brush dipped in black ink. 2) In the second part, Silvio begins to write calligraphy on sheets hung on a tripod (fig. 378) creating the characters “Qianli xin xing shi yu zuxia 千里心行始于足下” (A Journey of a Thousand Miles Begins with a Single Step), which will later be hung on a wire at the back of the stage. Olivia’s movements mirror those of Silvio as he writes the characters, synchronizing with the rhythm of the notes played by Cerino. Together, the three create a harmonious combination of writing, music, and dance. Olivia wears a dress reminiscent of that used in the traditional Chinese jinghong dance (jinghong wu 惊鸿舞), characterized by “water sleeves,” or long flowing sleeves that evoke the movement of the brush. Cerino, with his flute, plays a melody that he describes as “fragmented”, characterized by a series of simple notes that are repeated at an increasingly faster tempo. The melody begins with a slow rhythm and evolves into a quicker pace, creating a sense of acceleration and intensification. The notes, varying in rhythm and intensity, can be combined in different ways, contributing to a dynamic and engaging atmosphere. The calligraphic-musical composition, accompanied by Olivia’s dancing movements, is rooted in a “significant” aspect of the characters that form a proverb rich in Chinese cultural connotations. This proverb not only conveys a universal concept of progress and initiative but also carries a strong connection to traditional Chinese philosophy and wisdom.\r """@en ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image , ; write:madeUsingTool wd:Q23852, wd:Q614467 . a wd:Q184485 ; wdt:P1132 2 ; wdt:P1303 , , ; wdt:P1476 "Ferragina – Cerino Heart Sutra : The Music of the Chinese Calligraphy (塞尔维奥&亚历山得罗：心经 - 中国书法的音乐)"@en, "塞尔维奥&亚历山得罗：心经 - 中国书法的音乐"@zh, "Sàiěrwéiào & Yàlìshāndéluó: Xīnjīng - Zhōngguó shūfǎ de yīnyuè"@zh-Latn ; wdt:P175 , ; wdt:P180 ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P2047 "PT30M"^^xsd:duration ; wdt:P276 ; wdt:P585 "2016-10-20"^^xsd:date ; wdt:P608 ; wdt:P941 ; sch:thumbnailUrl ; write:calligrapher ; write:createsArtwork ; write:description """This musicalligraphy performance took place in 2016, in occasion of the 12th exhibition on calligraphyism (Di 12 jie shufa zhuyi zhan第12届书法主义展). The performance was realized under the direction of the Italian master calligrapher Silvio Ferragina and the Italian musician and composer Alessandro Cerino at the Zhejiang Conservatory of Music (Zhejiang yinyue xueyuan tushu guan 浙江音乐学院图书馆) on October 20. Silvio Ferragina uses the method of the musicalligraphy project to translate into music the four lines of the “Heart Sutra”, specifically “Se bu yi kong, kong bu yi se, se ji shi kong, kong ji shi se色不异空，空不异色，色即是空，空即是色” (Form is not different from emptiness, emptiness is not different from form; form is precisely this emptiness, emptiness is precisely this form). This translation then was performed during the performance by Alessandro Cerino, who was inspired by the calligraphy realized by Silvio. These verses represent the fundamental essence of the Heart Sutra. The same characters, rendered in kaishu by Silvio Ferragina during the performance and written from top to bottom and from right to left, engage in a dialogue with the work title “Heart Sutra” that he created in 2016 in Milan to serve as a backdrop during the performance. This monumental piece, measuring 70x140 cm, consists of 10 vertical panels made with black ink on rice paper, featuring all 268 characters of the Heart Sutra written in zhuangshu. Looking at the work from afar in its entirety, one can notice how Silvio emphasizes the four large characters “se bu yi kong 色不异空” (form is not different from emptiness). While Cerino played his music on the contrabass flute, Silvio, inspired by the musical notes derived from calligraphy, engaged in a calligraphic performance during which he transcribed the same 16 characters of the chosen sutra. The musical dialogue is also created with the Chinese instruments positioned in the room, such as the drums that appear around the audience. \r \r The 23th of October, another similar event took place at the Liangzhu Center of Arts (Liang zhu wenhua yishu zhongxin良渚文化艺术中心), a magnificent art museum designed by the renowned Japanese architect Tadao Ando (b. 1941). In this second musicalligraphy performance, Silvio calligraphed only eight of the non-simplified characters of the Heart Sutra “Se bu yi kong, kong bu yi se色不异空，空不异色” (Form is not different from emptiness, emptiness is not different from form) also realized in kaishu script and written from right to left while Cerino plays the musical notes derived from the Chinese characters previously extracted from the “musicalligraphy project” system created by Silvio.\r """@en ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image ; write:madeUsingTool wd:Q614467 ; write:usesArtwork . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Heart Sutra (心经)"@en, "心经"@zh, "Xīnjīng"@zh-Latn ; wdt:P170 ; wdt:P180 ; wdt:P186 , ; wdt:P2048 "140 cm" ; wdt:P2049 "70 cm" ; wdt:P462 , ; wdt:P571 "2016"^^xsd:gYear ; wdt:P941 ; sch:thumbnailUrl ; write:description "Silvio Ferragina created the Heart Sutra work on 10 panels made of rice paper. The work was created in Milan in 2016 to be used as a backdrop for the performance performed with Alessandro Cerino entitled: \"Heart Sutra – The Music of Chinese Calligraphy: Brush and Flute Musicalligraphy Project (中国书法的音乐: 心经)\" which took place at the Hangzhou Conservatory. The characters are all those of the Heart Sutra, 268 in total and are made in seal script. The four fundamental characters that emerge very large are precisely \"sè bù yì kōng 色不異空\" which highlight the formulation of the doctrine of \"emptiness\" (or literally: \"emptiness\") or the insubstantiality (or intrinsic non-existence) of all phenomena."@en ; write:hasVisualArtworkType , , ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Living Word (鸟飞了)"@en, "鸟飞了"@zh, "Niǎo fēi le"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , , ; wdt:P186 ; wdt:P462 , , , , , , , , ; wdt:P571 "2001"^^xsd:gYear ; wdt:P856 ; write:description "This is an installation composed of a series of plexiglass cutouts of the various forms of the character niao 鸟 (bird), from the most ancient form in “oracle bone script” (jiaguwen 甲骨文) to the modern standard, in which each form is rendered with a different color. The character hovers from a platform placed on the ground with the transcription of the dictionary definition of the word niao 鸟 (bird), breaking away from the confines of the literal definition and taking flight through the installation space. Rising into the air, the character gradually changes from its simplified modern form to non-simplified traditional forms written in different calligraphic styles and finally to the ancient Chinese pictograph for “bird”. The flight of this character is a journey back in time and space that retraces the whole history of Chinese writing from its roots. Its rainbow colors create a magical and fairy-tale quality. This installation is a flying “flock of birds” and at the same time an “animated writing”: the linguistic sign frees itself from the preceptive constraints of writing to transform itself into something else, into something more alive and truer, and it does so simply by recovering its original form. It is a game made possible only thanks to the formal evolution of Chinese writing which, thanks to its peculiarities, and in particular to its pictographic nature, can come back to life."@en ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal false ; write:hasUnit , . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Square Word Calligraphy Series (英文方块字书法系列)"@en, "英文方块字书法系列"@zh, "Yīngwén fāngkuàizì shūfǎ xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "1994"^^xsd:gYear ; write:description "Xu Bing has designed a calligraphic system known as \"Square Word Calligraphy\" (Yingwen fangkuaizi shufa 英文方块字书法) or \"New English Calligraphy\" (Xin Yingwen shufa 新英文书法), in which English (or other languages) words are visually reconfigured to resemble Chinese characters. Like a linguistic hybridizer, the artist combines Chinese calligraphy with English writing to create a new “species”. However, this system differs from the nonsensical characters in \"Book from the Sky\", which generate feelings of suspicion and confusion in the viewer. In contrast, when encountering Square Word Calligraphy, these tensions are quickly resolved through the recognition that the work contains “real” (readable) text. Through this process, Xu Bing effectively introduces a novel Eastern art form into the Western cultural sphere. It transcends conventional distinctions between Chinese and English, reshaping conceptual and perceptual norms and challenging the very foundation of cognition. After developing this lettering system, Xu Bing extended the project into an installation format, modeling it on adult literacy classes within the exhibition space. He also added a textbook, an instructional video, and practice sheets, replicating pedagogical materials used in classroom environments." ; write:hasWikidataResource ; write:includesArtwork , , . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Women's Writing: A Blank Page (女书——空白之页)"@en, "女书——空白之页"@zh, "Nǚshū——Kòngbái zhī yè"@zh-Latn ; wdt:P170 ; wdt:P186 , , , , ; wdt:P2048 "100 cm" ; wdt:P2049 "75 cm" ; wdt:P462 , , , , ; wdt:P571 "1997"^^xsd:gYear ; sch:thumbnailUrl ; write:description """"Women's Writing: A Blank Page" (Nüshu: Kongbai zhi ye 女书——空白之页) is an installation realized by Cai Mengxia in 1997 . It features four wooden panels linked with small rods, each displaying a different script:\r The first panel (top right) features Nǚshū, an exclusive script from the Jiangyong area in Hunan Province, China, known for its use as a secretive form of communication among women. This script, rediscovered in recent years, serves as a poignant reminder of the timeless significance of women's voices in history. Adjacent to this, the second panel (top left) displays Japanese Kana, specifically the syllabic characters used historically by women in Japan, reflecting a similar theme of feminine linguistic expression. On the third panel (bottom right), Korean Hangul script is presented on white silk, adhering to ancient cultural preferences for white in Korean tradition. This choice of script and material highlights the historical context in which Korean women used Hangul as a mode of literary and personal expression. The fourth and final panel (bottom left) is deliberately left blank except for a single seal, symbolizing the potential for future narratives and the silent yet potent presence of women throughout history. This blank space invites viewers to consider the unspoken and unwritten stories of women, echoing the artist’s conceptual exploration of silence and potentiality in feminine expression.\r Materials are thoughtfully chosen to enhance the cultural narrative of each script: yellow silk for the Japanese Kana reflects the ancient tradition of colored paper in Japan, coarse hemp for the Hunan Nǚshū underscores its rustic and folk origins, and white silk for the Korean Hangul respects historical aesthetic preferences (Chen Zhenlian 1998, 46).\r This installation not only showcases the artist's deep understanding and respect for historical calligraphy forms used by women but also challenges viewers to reflect on the role of women in cultural heritage and the continuing evolution of their expressive forms. The artwork stands as a testament to the artist's commitment to exploring complex themes of gender, culture, and history through the nuanced lens of calligraphy. It explores themes of "women's writing" and general perceptions of writing. The texts, presented in scripts unfamiliar to its intended Chinese audience, symbolize the exclusion from dominant linguistic codes. This sequence moves from a localized gender-specific script to other related scripts, culminating in a blank page that invites endless interpretation.\r In 1995, Cai Mengxia also created another installation titled "Women's Script (Nüshu) - Classics" (Nǚ shū·jīngdiǎn 女书·经典), which further explores these themes.\r This piece was exhibited at the graduation exhibition of the Chinese Academy of Art’s calligraphy undergraduate program and at the inaugural exhibition of the "School of Academics" held in Korea in 1997.""" ; write:hasVisualArtworkType , , ; write:hasColophon false ; write:hasSeal true ; write:hasUnit , , ; sch:image ; write:madeUsingTool . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Zhu Qingsheng 朱青生" ; wdt:P27 ; wdt:P453 ; wdt:P569 "1957-04-19"^^xsd:date ; wdt:P742 "老朱"@zh, "Lao Zhu"@zh-Latn ; wdt:P800 ; wdt:P812 , ; wdt:P856 , ; wdt:P937 , ; write:description "Zhu Qingsheng was born 1957, Zhenjiang, Jiangsu Province, China. He is an influential art historian, critic, and artist. He holds a PhD from Heidelberg University and is the President of the International Association of Art History (CIHA). He is a Professor at Peking University, where he also directs the Center for Visual Studies (CVS) and the Han Art Institution (HAI). Additionally, he serves as Editor of the Annual of Contemporary Art of China and leads the \"Chinese Modern Art\" initiative. His work bridges the fields of art history, curation, and contemporary Chinese art." ; write:hasCalligraphicTraining "Academic"@en ; write:hasWikidataResource ; write:isCalligrapherOf . a wd:Q4502142 ; wdt:P1071 ; wdt:P127 ; wdt:P1476 "Writing Music – Silent Melodies: \"The Barber of Seville\" (写乐·无声之歌·塞维利亚的理发师)"@en, "写乐·无声之歌·塞维利亚的理发师"@zh, "Xiě yuè · wúshēng zhī gē · Sāiwéilìyǎ de lǐfǎshī"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P2048 "20 cm" ; wdt:P2049 "100 cm" ; wdt:P462 , , ; wdt:P571 "2023-09"^^xsd:gYearMonth ; wdt:P608 ; wdt:P941 , ; sch:thumbnailUrl ; write:description """"The Barber of Seville" is one piece of the series of creative artwork Writing Music – Silent Melodies. In this work, taking inspiration from the musical arias of “The Barber of Seville” by Gioachino Rossini (1792-1868), the artist translates these melodies into a concatenation of calligraphic signs inspired by the most ancient Chinese musical notation system, the “Dunhuang Musical Notation System” (Dunhuang qupu/Dunhuang yuepu 敦煌曲谱/敦煌乐谱), made up of ancient symbols/simple characters. Reworking it according to his personal and original interpretation, he transforms the opera’s music into a “visual and visible score,” strongly rhythmic and dynamic, with an inextricably calligraphic texture, as the other works of the series “Writing Music – Silent Melodies” (2018-2023) it belongs to.\r This work was displayed during the exhibition "Sounds of Ink: Luo Qi and Thirty Years of Calligraphyism" held at the International Museum and Library of Music in Bologna in 2023. Following the success of the exhibition and as a sign of fruitful collaboration between the artist and the museum and between China and Italy, on November 23, 2023 Luo Qi donated this work to the International Museum and Library of Music in Bologna. Since then, the work has been part of the collection of the museum and it has been shown in the permanent display of the museum: it has been placed in the same showcase of “The Barber of Seville” manuscript in Room 7, next to the original autographed manuscript, so as to create a very strong musical dialogue between East and West.""" ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit , ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Sound MAP - Artwork 1"@en ; wdt:P170 ; wdt:P180 , , , , , , ; wdt:P186 , ; wdt:P2048 "1200 cm" ; wdt:P2049 "70 cm" ; wdt:P462 , ; wdt:P571 "2023-10-12"^^xsd:date ; wdt:P608 ; wdt:P88 ; wdt:P941 ; sch:thumbnailUrl ; write:derivesFrom ; write:description """This artwork was created during the first part of the performance "Sound MAP (Musicalligraphy Augmented Performance)" held on October 12, 2023 at the International Musuem and Library of Music in Bologna during the opening of the exhibition “Sounds of Ink: Luo Qi and 30 Years of Calligraphyism” (12 October – 5 November 2023). This artwork is composed of two parts: in the first part the artist wrote the four characters of the Chinese title of the exhibition (shuimo shengyin 水墨声音 "sounds of ink") using his persoanl style, while in the scond part he translated the music he heard during the performance (played by the pianist Giusy Caruso) into concatenations of calligraphic signs inspired by the oldest Chinese musical notation system, the “Dunhuang musical score”. The result is a visual and visible musical score, strongly rhythmic and dynamic, with an inextricably calligraphic thread.\r """@en ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal false ; write:hasUnit , ; sch:image ; write:madeUsingTool . a wd:Q184485 ; wdt:P1132 2 ; wdt:P1303 ; wdt:P1476 "Inky Strings: Old Friends from Mountains and Rivers (山河故人)"@en, "山河故人"@zh, "Shān hé gù rén"@zh-Latn ; wdt:P175 , ; wdt:P180 , , , , , , , ; wdt:P186 wd:Q127418, wd:Q23852, wd:Q5849500 ; wdt:P2047 "PT40M"^^xsd:duration ; wdt:P276 , ; wdt:P585 "2023-10-29"^^xsd:date ; wdt:P608 ; wdt:P664 , ; wdt:P856 ; wdt:P941 , , , ; sch:thumbnailUrl , , , ; write:description """This performance realized by Echo Morgan took place on October 29, 2023, at the International Museum and Library of Music in Bologna, as part of the collateral events related to the exhibition “Sounds of Ink: Luo Qi and 30 Years of Calligraphyism” (October 12 - November 5, 3023). This performance represents a pivotal moment in the artistic practice of Echo Morgan, bringing together calligraphy, music, ecology, and ecofeminism within a transcultural and intergenerational dialogue.\r Collaborating with the local guzheng female musician Zhang Yaqin 张雅钦 (b. 2000), the two performers created a new eco-feminist work. Initially, Echo spent almost two hours painting her body before the performance, shaping five different flowers, each symbolizing one of the five gardens demolished during the “Return Forests to Agriculture Movement” (RFFP) in May 2023 and writing the four characters “Shan he gu ren 山河故人” on her face. These characters are the original title of Jia Zhangke’s 2015 film, internationally known as "Mountains May Depart". It is a drama exploring memory, affection, and the social transformations of contemporary China. Set across three distinct periods, the film follows the 25-year-old shopkeeper Tao and the choices that separate her from both the men in her life and her son, Daole/Dollar. Through the growing geographical and emotional distance between mother and son, Jia reflects on globalization, cultural displacement, and the fragility of family bonds.\r Literally, the phrase "Shan he gu ren 山河故人" can be read as “mountains, rivers, and old friends”, evoking a sense of enduring landscapes set against the fragility of human relationships and time. Jia Zhangke’s choice of title reflects the film’s central concern with change, memory, and the passage of generations: the permanence of nature contrasts with the impermanence of human bonds and personal destinies. Echo inscribed these characters on her face by following the same iconographic style as the film’s official poster, thereby creating a visual and symbolic bridge between cinema and performance art. By appropriating Jia Zhangke’s cinematic language and re-situating it within her own body art practice, she reactivates the poetic resonance of "Shan he gu ren" in a new context marked by ecological urgency. \r This evocation of landscape also resonates with her long-standing dialogue with classical Chinese poetry. As she explains, Echo has often found solace in the poetry of Su Shi (1037–1101), the poet-official repeatedly exiled during the Song dynasty, whose retreat into nature produced writings of enduring wisdom and healing power. For Echo, his voice becomes a refuge when reality is overwhelming and emotion resists articulation.\r The music, composed and performed by Zhang Yaqin in complete improvisation, interwove an homage to Maddalena Casulana (1544–1599), the first female composer to publish music under her own name. This choice situates the performance within a genealogy of women’s creativity and underscores its ecofeminist orientation: a philosophy that connects environmental crisis with patriarchal systems of oppression, proposing instead forms of resistance that unite ecological and gender justice. Echo’s decision to engage with this female composer was also inspired by the fact that the museum preserves some of her original musical scores.\r As the performance unfolded, Echo continued to paint plants and flowers across her body while a video she produced was projected in the background, recounting stories of displacement and ecological trauma. These narratives referenced the urban and environmental transformations of Sichuan: from the Tian Fu Lawn project of 1997, to the mass migration triggered by the Three Gorges Dam, to the more recent demolition of the San Sheng Flower Village. Through this layering of memory and storytelling, personal biography converged with collective histories of dislocation and loss.\r At the end of the performance, Echo extended an invitation to the audience to contribute to the performance by writing in various languages on her body paint, as well as on the long cloth scroll where she had walked. Her son Tao added a smiling face, and the other son Zen writes “SAVE THE WORLD – NO MORE WAR” accompanied with a symbol of peace, joining in the creative action. People wrote words, such as: “SPERANZA” and “FIORE” (“hope” and “flower” in Italian); “paqe” (“peace”, in Albanian); “amour” (“love”, in French) or “Jia you 加油” (“come on”, in Chinese). \r This live painting performance—described by Echo as a “film in action”—epitomizes her practice of "re-vision" in the Adrienne Rich's sense (Rich 1979): the feminist act of critically rereading and rewriting cultural traditions. In Echo’s case, this extends to Chinese writing and calligraphy, historically embedded within patriarchal structures. By inscribing, fragmenting, and recontextualizing characters on her own body, she transforms calligraphy into what has been described as an embodied female language. In this performance, painting, calligraphy, music, and collective participation merge into an aesthetic-political device that brings together personal memory, ecology, and the struggle against cultural oppression.\r Ultimately, the performance reveals the power of art as a tool for testimony and transformation. On the one hand, it narrates the intimate and collective histories of a changing homeland; on the other, it opens a shared space of reflection, resilience, and hope, where ink and music converge as instruments of ecofeminist resistance."""@en ; write:hasChineseVisualElement , ; write:hasMusicStyle ; write:hasPerformingArtworkType ; write:hasUnit , ; sch:image , , , ; write:madeUsingTool wd:Q614467 ; sch:video . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Writing Music – Silent Melodies: \"La Traviata\" (写乐·无声之歌: 茶花女)"@en, "写乐·无声之歌: 茶花女"@zh, "Xiě yuè · Wúshēng zhī gē: Cháhuā nǚ"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P2048 "378 cm" ; wdt:P2049 "32 cm" ; wdt:P462 , , , ; wdt:P571 "2018"^^xsd:gYear ; wdt:P608 , , ; wdt:P941 , ; sch:thumbnailUrl ; write:description """This artwork is one of the 12 paper folding books of the series "Writing Music - Silent Melodies" (写乐·无声之歌) realized by Luo Qi in 2018. It is inspired by the famous Italian opera “La Traviata” by Giuseppe Verdi, one of Giuseppe Verdi's most famous operas, first performed in 1853. The story of "La Traviata" is based on the play "La Dame aux Camélias" by Alexandre Dumas, and it explores themes of love, sacrifice, and societal judgment. Luo Qi transcribes this famous Italian opera using the oldest Chinese musical notation system, the "Dunhuang Musical Score System" (Dunhuang qupu / yuepu 敦煌曲谱/乐谱). This system, dating back to the 10th century, consists of twenty symbols derived from ancient characters, radicals or character components/parts, traditionally used for notating the tablature for the pipa (Chinese lute). The artist reshapes these symbols according to his personal and original interpretation, in a way that the musical composition is transformed into a “visual and visible musical score,” strongly rhythmic and dynamic, with an inextricably calligraphic thread. In addition to the traditional black ink, the artist adds two other colors - green and brown, to create a dinamic coloristic rhythm to the whole composition. \r This artwork was displayed for the first time during the exhibition "The Music of Ink - Calligraphies by Luo Qi and Silvio Ferragina in dialogue with the Chinese archive collection of the Braidense Library" held in 2018 at the National Braidense Library. It was also exhibited in other three exhibition: "The Music of Ink - Calligraphies by Luo Qi and Silvio Ferragina" (2018, Forlì Campus of the University of Bologna), "Luo Qi: Writing Music" (2019, University Library of Bologna), and "Sounds of Ink: Luo Qi and Thirty Years of Calligraphyism" (2023, International Museum of Music in Bologna). \r """ ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1476 "Ink Banquet (水墨菜单)"@en, "水墨菜单"@zh, "Shuǐmò càidān"@zh-Latn ; wdt:P170 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P2048 "94 cm" ; wdt:P2049 "300 cm" ; wdt:P2610 "300 cm" ; wdt:P462 , , ; wdt:P571 "1996"^^xsd:gYear ; wdt:P608 , , ; write:description "Wang Tiande's \"Ink Banquet\"(1996) is an installation that merges traditional artistic techniques with an unconventional medium. The work features a complete banquet setting—consisting of a round table, eight chairs, dishes, bottles, and brushes—entirely splashed with ink. Through the application of ink across these objects, Wang transforms functional items of daily life into an immersive, artistic experience. The ink-splashed surfaces evoke the aesthetics of traditional Chinese ink painting and calligraphy extending it into three-dimensional space. Measuring approximately 300 x 300 x 94 cm, the installation presents an evocative contrast between the rigid structure of furniture and the fluidity of ink, reflecting themes of transformation, cultural heritage, artistic experimentation and reinterpretation of familiar objects. His earlier two-dimensional works are transformed into everyday objects with unusual, hybrid forms. This installation was featured in the 1998 exhibition \"Inside Out: New Chinese Art\" (Xin Zhongguo yishu zhan - tuibian 新中国艺术展─蜕变) at Asia Society in New York and the San Francisco Museum of Modern Art, which focused on Chinese contemporary art." ; write:hasVisualArtworkType , , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Cultural Transference - A Neon Calligraphy Series: Sotheby's (霓虹灯书法系列：素思碧寺)"@en, "霓虹灯书法系列：素思碧寺"@zh, "Níhóngdēng shūfǎ xìliè: Sùsībìsì"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , ; wdt:P186 ; wdt:P2048 "500 cm" ; wdt:P2049 "150 cm" ; wdt:P462 , ; wdt:P571 "2005"^^xsd:gYear ; wdt:P856 ; write:hasVisualArtworkType , , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit , , . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "Silencer (消音)"@en, "消音"@zh, "Xiāoyīn"@zh-Latn ; wdt:P175 ; wdt:P179 ; wdt:P180 , , ; wdt:P186 wd:Q127418, wd:Q207849, wd:Q97722170 ; wdt:P276 ; wdt:P585 "2023-07-26"^^xsd:date ; wdt:P608 ; sch:thumbnailUrl , , , ; write:calligrapher ; write:description """“Silencer” (Xiaoyin 消音) is a performance realized by Wu Xixia on July 26, 2023 in occasion of the “Chengdu Biennale Parallel Exhibition” (Chengdu shuang nian zhan pingxing zhan 成都双年展平行展) held from July, 15 to September 17 where the artist writes a series of words in an inflatable sphere and recites them through a loudspeaker, inviting spectators on site (both kids and adults) to participate.\r Wu Xi Xia wrote about many women's secrets and the shame that keeps them "silenced". She collected some anonymous and shameful experiences of women not being accepted by society and wrote them into the sphere. Examples of these words/sentences include: "I have a lot of armpit hair" (wo yemao henduo 我腋毛很多); "I wear a pregnancy control device" (wo dai jieyu qi 我戴节育器); "I was divorced" (wo liguo hun 我离过婚); "I am flat chested" (wo pingxiong 我平胸); "I go for breast augmentation" (wo longguo xiong 我隆过胸); "I go for full-body liposuction" (wo quanshen xi zhi 我全身吸脂); "I made pornographic because of my big breasts" (wo yinwei xiong da bei yi yin, wo chanhou inda songchi 我因为胸大被意淫，我产后阴道松弛); "my vagina is loose after giving birth" (wo bei yaoqiu sheng nanhai guangzongyaozu 我被要求生男孩光宗耀祖); "I was raped by her brother" (wo bei qin gege qiangjianguo 我被亲哥哥强奸过), etc. Each time Wu Xixia writes a word or sentence, the spectator is invited to completely cover the words with red spray paint on the external surface of the sphere.\r Wu Xixia writes these sentences in regular script. In fact, as she explained:\r "I used my font to write. In fact, I didn’t care whether the writing looked good or not, because I had been recalling the 'silenced memories' I had collected. I had been writing very fast, but at the same time, people outside were also spraying paint on me, and they were covering it very quickly" (Interview 2025).\r \r Other similar performances held by Wu Xixia between 2022 and 2023 are: \r 1) “Letter to Mom” (Yu mu shu与母书) realized in 2022 where she writes inside an hermetic plastic sphere some words referring to her mother, inviting the children to calligraph with her on the external surface of the sphere;\r 2) “Opposite/Image” (Dui/Xiang 对/像) realized in 2023 where she is inside a hermetic red cube made of plastic and invites viewers to come closer to trace the outline of their body on the external surface of the cube. In the meantime, Wu Xixia composes the two characters “dui 对” and “xiang 像” on the inner surface of the sphere while observing what happens externally;\r 3) “Confrontation” (Duihua 对话) which takes place at the “17th Macau International Live Art Festival (MIPAF)” (Di shiqi jie Aomen guoji xianchang yishu jie 第十七届澳门国际现场艺术节 - MIPAF) on January 7, 2023 where Wu Xixia begins to write on a red humanoid mannequin with a brush the white characters “human” (ren 人) and “art” (yishu 艺术) to “give life” to it, announcing the beginning of the confrontation (see the archive).""" ; write:hasChineseConcept ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image , , , ; write:madeUsingTool wd:Q614467, wd:Q659495 . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "Ⅰ (我)"@en, "我"@zh, "Wǒ"@zh-Latn ; wdt:P175 ; wdt:P179 ; wdt:P180 , , , ; wdt:P186 wd:Q127418, wd:Q97722170 ; wdt:P276 ; wdt:P585 "2020-11"^^xsd:gYearMonth ; sch:thumbnailUrl , ; write:calligrapher ; write:createsArtwork ; write:description "“I” (Wo 我) is one of the first calligraphic performances realized by Wu Xixia in Macau. During this performance, the artist is inside an airtight inflatable sphere symbolizing the female uterus. In the inner part of the sphere, she starts to write with red ink and in regular script some labels of society’s goodwill and malice towards women, such as: “whore” (biao zi 婊子); “old maid” (lao chunü 老处女); “good wife and loving mother” (xian qiliang mu 贤妻良母); “green tea bitch” (luchabiao 绿茶婊); “teenage girl” (yunü 玉女); “white lotus” (bailian hua 白莲花), etc. As a female, she has been questioning her gender, and the social labels she writes about are an attempt to reconcile herself with her gender identity. Wu Xixia reflects on various questions about her life, such as: “Who are women? And who am I? Is my gender determined by birth or is it given by society? There is a womb here, but where is the ‘mother’?”. For Wu Xixia, this performance represents a meditative act of reconciliation with herself, as well as a way to metaphorically return to the peace of the maternal womb. "@en ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image , ; write:madeUsingTool wd:Q614467 . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "Darling"@en ; wdt:P175 ; wdt:P179 ; wdt:P180 , , , , , , ; wdt:P186 wd:Q127418, wd:Q6918773, wd:Q97722170 ; wdt:P276 ; wdt:P585 "2021-09"^^xsd:gYearMonth ; sch:thumbnailUrl , , ; write:calligrapher ; write:createsArtwork ; write:description "This performance was held in 2021 in Macau, in front of a building called “Darling”. The building was covered with red ribbons, which spread all the way to an airtight inflatable ball where Wu Xixia is “trapped”. She stars writing expressions such as: “jiu jiu wo 救救我” (help me); “qiuqiu ni 求求你” (I beg you); “bie sha wo 别杀我” (don’t kill me); “bie S wo 别S我” (don’t fuck me), etc. with red ink inside the hermetic sphere. During the performance, passers-by, especially men, took photos with various poses and angles nearby. In this “public act”, the female body transforms into an object of desire and “objectification” through the male gaze. For over 40 minutes, the artist lies still on the ground, inviting the audience's scrutiny while she begins to write down pleas for help. Red colour serves as a symbol of judgment, and the red ribbon represents the tangible reality of the female body being observed. The building covered with red ribbons symbolize the existing and massive examination of the female body. The artist wraps the red ribbon of the building on the inflatable ball, representing the current situation of women who are looking at fearlessly and pursuing physical freedom, but it is still difficult to escape from the scrutiny. In the past, the female body has always been hidden. Nowadays, with the awakening of female consciousness, women break free from the shackles and turn from invisibility to openness and fearless publicity. In this transition, the female body is no longer a private and invisible object but exposed to the public eye. This performance aims to arouse people’s attention to the predicament of women breaking “free from physical examination” (wuwei shenshi 无畏审视)."@en ; write:hasChineseConcept ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image , , ; write:madeUsingTool wd:Q614467 . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "Stamping the Water / Printing on Water ( 印水 )"@en, "印水"@zh, "Yìn shuǐ"@zh-Latn ; wdt:P175 ; wdt:P180 , , , , , , , , , ; wdt:P186 wd:Q283 ; wdt:P2047 "PT1H"^^xsd:duration ; wdt:P276 ; wdt:P585 "1996"^^xsd:gYear ; wdt:P608 ; write:createsArtwork ; write:description """In this hour-long performance, Song Dong is sitting cross-legged in a shallow portion of the Lhasa River in Tibet. He sistematically stamps the "sacred" river water with a large wood seal carved with the Chinese character for water (shui 水). Song Dong explores the impact of transcribed words that leave no semantic trace. According to the artist, the idea of this work came to him while attending an artists' symposium in Lhasa that examined the human impact on the natural world. He learned from speaking with local residents of an annual ritual held on the fourth day of the fourth lunar month, when small statues of the Shakyamuni Buddha are immersed in the water. When the statue is in the water, the river bears the image of Buddha; when it is removed, the essence of Buddha remains. Song Dong adapted this idea by writing out a large regular-script version of the character shui 水 (water), and then having local craftsmen carve it into the wood. In his mind, stamping the river with this symbol, which was meant to represent the pure concept of water, became a way of ritually purifying it as it made its way from the Tibetan highlands to Beijing, where it arrives much polluted owing to man's intrusions. In actuality the Lhasa River joins the Yarlung (or Brahmaputra) River, which flows into the Bay of Bengal, but in the artist's conception, it represented the head-waters of China's great rivers that, figurately at least, flowed to Beijing from whence political control flowed back to Tibet.\r Song Dong carried out this performance twice: first, before a large audience; then, in front of a camera operated by his wife, the artist Yin Xiuzhen. To stage this second performance, Song and Yin rode bicycles to a spot about ten kilometers outside the center of Lhasa, where the camera would capture an image that included water, mountains and traces on man's presence. Song Dong stamped continuously for one hour, enough time to meditate on man's impact on the natural world, without knowing when Yin Xiuzhen would hold down the shutter release. Song Dong went on to explain that his posture, seated cross-legged in a shallow portion of the river, echoes that of the Buddha, while the replication of his image recalls the Thousand Buddhas motiv, a metaphor for the potential of all sentient beings to achieve Buddhahood. \r This performance invokes Buddhist and Daoist concepts, which advocate harmonizing the self with natural principles. Song's intention may have been to link traditional religious practise with a greater awareness of and reverence for the natural environment. Thus, the act of stamping the Chinese word for "water" onto a Tibetan river, may be read as a response to China's efforts to assert its cultural hegemony over Tibet."""@en ; write:hasPerformingArtworkType ; write:hasUnit ; write:madeUsingTool wd:Q3850202 . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU 1 Heaven, Earth, Mankind and Unity (月照花林...)" ; write:description "This CWU is part of the TENG Ensemble's digital performance entitled: \"Heaven, Earth, Mankind and Unity (天地人合)\" realized on September 2, 2021 by the TENG company and recorded in the concert hall of the Singapore Chinese Culture Centre. It consists of an excerpt from the poem \"Spring Blossoms on a Moonlit Night\" (Chunjiang hua yueye 春江花月夜) by Zhang Ruoxu 张若虚 (c. 660-c. 720), specifically the line: \"Yue zhao hua lin jie si xian 月照花林皆似霰\" (The Moonlight Shines upon Dewy Petals, Glimmering like White Pearls) realized by the female calligrapher Grace Chen Liang 陈亮 (b.1974)." ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 7 ; write:relatedUnit , , ; write:transcriptionAndTranslation "the moonlight shines upon dewy petals, glimmering like white pearls"@en, """月照花林皆似霰\r """@zh, "yuè zhào huā lín jiē sì xiàn"@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU 2 Heaven, Earth, Mankind and Unity (心飞舞)" ; write:description "This CWU is part of the TENG Ensemble's digital performance entitled: \"Heaven, Earth, Mankind and Unity (天地人合)\" realized on September 2, 2021 by the TENG company and recorded in the concert hall of the Singapore Chinese Culture Centre. It consists of the three characters composing the phrase \"The Heart Dances and Leaps\" (xin feiwu 心飞舞) realized by he female calligrapher Grace Chen Liang 陈亮. " ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 3 ; write:relatedUnit , , ; write:transcriptionAndTranslation "the heart dances and leaps"@en, "心飞舞"@zh, "xīn fēiwǔ"@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU 3 Heaven, Earth, Mankind and Unity (静观)" ; write:description "This CWU is part of the TENG Ensemble's digital performance entitled: \"Heaven, Earth, Mankind and Unity (天地人合)\" realized on September 2, 2021 by the TENG company and recorded in the concert hall of the Singapore Chinese Culture Centre. It consists of the two characters jing guan 静观 (observe calmly/mindfulness) realized by the female calligrapher Grace Chen Liang 陈亮 using her left hand on the notes of the piece written by Hua Yanjun, commonly known as Ah Bing 阿炳 (1893 – 1950) “Reflection of the Moon on Erquan Spring” (Er quan ying yue 二泉映月). " ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 2 ; write:relatedUnit , , ; write:transcriptionAndTranslation "observe calmly/mindfulness"@en, "静观"@zh . a write:CalliWritingUnit ; wdt:P144 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 ; write:attributedTitle "CWU 4 Heaven, Earth, Mankind and Unity (生生不息)" ; write:description "This CWU is part of the TENG Ensemble's digital performance entitled: \"Heaven, Earth, Mankind and Unity (天地人合)\" realized on September 2, 2021 by the TENG company and recorded in the concert hall of the Singapore Chinese Culture Centre. It consists of the four characters \"Endlessness” (Shengsheng bu xi 生生不息) realized by the female calligrapher Grace Chen Liang 陈亮." ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon true ; write:hasSignificance "Meaningful writing" ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 4 ; write:relatedUnit , , ; write:transcriptionAndTranslation "endlessness"@en, "生生不息"@zh, "shēngshēng bù xī"@zh-Latn . a wd:Q464980 ; wdt:P10661 , , , , , , , , ; wdt:P1476 "Writing/Non-writing: 2010 International Modern Calligraphy Exhibition, HangZhou (“书非书”2010杭州国际现代书法艺术展)"@en, "“书非书”2010杭州国际现代书法艺术展"@zh, "“Shū fēi shū”2010 hángzhōu guójì xiàndài shūfǎ yìshù zhǎn"@zh-Latn ; wdt:P1640 ; wdt:P276 , ; wdt:P580 "2010-06-20"^^xsd:date ; wdt:P582 "2010"^^xsd:gYear ; wdt:P664 , ; write:description """The exhibition "Shu Fei Shu — 2010 Hangzhou International Modern Calligraphy Art Exhibition" opened at the China Academy of Art Museum. \r This exhibition, led by artists from the Modern Calligraphy Research Center at the China Academy of Art, marked its second edition. The title "Shu Fei Shu" (书非书), meaning "Calligraphy as Non-Calligraphy," indicated its cross-disciplinary nature, blending calligraphy with other art forms like fashion, installation, sculpture, and architecture. Featuring works by 100 renowned artists from 14 countries and regions, including the United States, Japan, France, Hong Kong, Macau, and Taiwan, the exhibition showcased innovative approaches to traditional calligraphy. Over 100 pieces incorporating calligraphic elements spanned various fields, including calligraphy, painting, fashion design, architecture, music, and dance. It challenged conventional definitions of calligraphy, demonstrating its limitless possibilities in modern life.""" ; write:exhibitedArtwork , . a wd:Q4502142 ; wdt:P1071 ; wdt:P127 ; wdt:P1476 "Art for the People for The Met (艺术为人民致意大都会美术馆)"@en, "艺术为人民致意大都会美术馆"@zh, "Yìshù wèi rénmín zhìyì Dàdūhuì měishùguǎn"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P2048 "38.1 cm" ; wdt:P2049 "38.1 cm" ; wdt:P462 , , ; wdt:P571 "2020"^^xsd:gYear ; wdt:P88 ; wdt:P941 ; write:description """"Art for the People for The Met" is a six-color lithograph and relief print composed of three components: the transcription of the phrase "Art for the people" using "Square Word Calligraphy", a system developed by Xu Bing that adapts the English alphabet to the structural forms of Chinese calligraphy. The phrase is also rendered in typewriter-like font. The third element consists of five red “seals” surrounding the English text. In traditional culture of Chinese literati, seals functions as the artist's signature(s) and mark of authorship. In this work, however, they take the form of QR codes. Visitorns can scan them to access further information on the website of the Metropolitan Museum of Art. The use of QR codes reflects on the role of digital technologies to identifies individuals in the age of the internet and social media. At the same time, it suggests the capacity of networked media to generate connections and amplifies the human shared knowledge. \r This work was commissioned by the Metropolitan Museum of Art to celebrate its 150th Anniversary in 2020. The Met also acquired the first edition of the print portfolio.\r Xu Bing used the phrase "Art for the people" in earlier works, in particular in 1999, when he wrote it in Square Word Calligraphy on a large banner placed at the entrance of the Museum of Modern Art in New York. The expression echoes one of Mao Zedong's central views on art, formulated in the famous "Talks at the Yan'an Conference on Literature and Art” (1942). At the same time, it reflects of the artist's personal conviction that the notion of art serving the people has a broader and universal relevance. In this sense, the work exemplifies how Xu Bing integrates his particular cultural background and life experience into the international context of contemporary art. The same banner was displayed again in 2001 at the entrance of the Victoria and Albert Museum in London.\r """ ; write:hasVisualArtworkType , , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit , , ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Writing Music - Silent Melodies: \"Turandot\"( (写乐·无声之歌·图兰朵)"@en, "写乐·无声之歌·图兰朵"@zh, "Xiě yuè · wú shēng zhī gē · Túlánduǒ"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P2048 "33 cm" ; wdt:P2049 "33 cm" ; wdt:P462 , ; wdt:P571 "2018-03-16"^^xsd:date ; wdt:P608 , ; wdt:P941 , ; sch:thumbnailUrl ; write:description """"Writing Music - Silent Melodies: Turandot" is one of the 20 small square works in ink on paper of the series "Writing Music - Silent Melodies" realized by Luo Qi in 2018. In this work, he transcribes an aria from the Italian opera "Turandot" using the oldest Chinese musical notation system, the "Dunhuang Musical Score System" (Dunhuang qupu / yuepu 敦煌曲谱/乐谱). "Turandot" is one of the Giacomo Puccini's most famous opera, first performed in 1926. The opera is set in China and follows the Prince Calaf, who falls in love with the cold-hearted Princess Turandot. The choice of this opera settled in China and composed by an Italian is another link between the two countries. The echo of the powerful Italian opera resonates in the sweet notes of the Chinese pipa. Just as happens for those who have not studied music and do not know how to “read” a pentagram, but can appreciate great musical compositions, so those who are not experts in ancient Chinese music will never know how to “read” these musical scores but can appreciate the intrinsic rhythm of the calligraphic signs. The implicit invitation to the viewer is to open your heart to listening to these “silent melodies", to let yourself be carried away and enveloped by the harmonic flow of this “musical calligraphy”.\r This artwork was displayed for the first time during the exhibition "Luo Qi: Writing Music" held in 2019 at the University Library of Bologna, and then in 2023 during the exhibition "Sounds of Ink: Luo Qi and Thirty Years of Calligraphyism" held at the International Museum of Music in Bologna.""" ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Material Immaterial (物非物)"@en, "物非物"@zh, "Wù fēi wù"@zh-Latn ; wdt:P170 ; wdt:P580 "2006"^^xsd:gYear ; wdt:P582 "2022"^^xsd:gYear ; sch:thumbnailUrl ; write:description "The series includes: “City” 城市, “Tree whisper” 树语, “Blade” 力身, “White orchid” 白兰花, “Fruit” 果实, “Tools” 工具 and “Containers” 容器. All the artworks of the series were born as photos in black and white of everyday life objects. The aim of the artist is to symbolize the importance of everyday objects as well as emphasizing how they consist of both a material and immaterial part. The immateriality of matter is identified by the spiritual side of objects. The latter depends on us and on the significance of these everyday objects in our lives. From 2010, the artist adds calligraphy to these photos. Another translation of the title of the series in English is \"Object and Non-Object\". " ; sch:image ; write:includesArtwork , , , ; write:notes """Item compiled by Teresa Briatti\r The translation "Material Immaterial" comes from the title of the exhibition that took place in 2014 in Beijing: https://www.cafa.com.cn/en/news/details/8323120; the translation "Object Non-object" comes from the catalogue “Meigui yu yuelun玫瑰与月轮 / Roses and the Lunar Halo”.""" . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Eye Charts (视力表)"@en, "视力表"@zh, "Shìlìbiǎo "@zh-Latn ; wdt:P170 ; wdt:P180 , , , ; wdt:P462 , ; wdt:P571 "2011"^^xsd:gYear ; wdt:P608 ; sch:thumbnailUrl , ; write:description """"Eye Charts" consists of two large panels featuring optometric-style charts composed of characters using two newly-designed computer fonts, named "Feng's Bitmap" (Dianzhenfeng 点阵冯) and "Feng's Vector" (Shiliangfeng 矢量冯). In the first one the characters are pixel-based reduced, while in the second one they are reduced to gentle lines based on vectors and mathematical formulas. The reduction of characters is based on 'stone flowers' (shihua 石花). These 'stone flowers' are rubbings made from eroded or damaged steles that show white marks where the stones or inscriptions had been before, often rendering the characters illegible. Feng Mengbo chose to revive the stone flowers to preserve them in an artistic digital remediation. Adopting digital tools to accelerate the aging process of characters of stone rubbings, the artist reduces the fonts to their most essential forms, placing them on the edge between readability and unreadability. \r The artist explores the notions of distortion and the inversion of reality. In a deliberate paradox, the larger the characters appear, the less legible they become; the smaller they are, the clearer they read. Through this inversion, Feng challenges conventional perception and questions the reliability of visual systems. The artwork thus becomes a meditation on how digital logic, based on quantification, scaling, and code, reshapes our perception between visibility and abstraction.""" ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit , , ; sch:image , ; write:usesArtwork ; write:vectorisedOrDigitised true . a write:DecorativeAndAppliedArt ; wdt:P1071 ; wdt:P1476 "Love (愛)"@en, "愛"@zh, "爱"@zh, "Ài"@zh-Latn ; wdt:P179 ; wdt:P180 , , , , , ; wdt:P186 ; wdt:P287 ; wdt:P462 , , ; wdt:P571 "2013"^^xsd:gYear ; wdt:P608 ; write:description """This dress was created by Vivienne Tam as part of the Fall-Winter 2013 "Ready-to-Wear" collection, presented at New York Fashion Week in 2013. At the center of the dress’s design appears the character "ai 愛" (love), written in non-simplified characters and symbolically placed at heart level. The choice of red for the “heart” radical (xin 心) aligns perfectly with traditional Chinese color symbolism, enhancing its visibility while the other components of the character "ai 愛" are rendered in white. Below it, a vertical sequence of Latin alphabet letters, also in white clearly spell out the word "CHANGE". The word is embedded into the garment, creating a visual tension between the two writing systems. Their coexistence is not merely decorative but establishes a true dialogue: Eastern calligraphy and Western typography reflect one another, contrast each other, and ultimately harmonize into a single visual syntax. \r The dress contains a highly symbolic color palette — red, black, and white — that directly references the calligraphic tradition. Red, associated with vitality and good fortune, is the color of calligraphic seals; black is the color of ink; and white is the color of paper, and functions as neutral background and space for expression. These color are extended to the accessories as well, such as the black and red shoes, creating a formal continuity between the garment and the body. \r Far from any superficial exoticism, Vivienne Tam’s poetics are grounded in a deep cultural negotiation, using writings — both Chinese characters and Latin letters— and languages— both Chinese and English, as media to explore the relationship between East and West. In this context, calligraphy becomes a generative matrix for design: not merely a visual trace of a culture, but a compositional and narrative principle capable of merging historical memory with aesthetic experimentation.""" ; write:hasChineseConcept ; write:hasColophon false ; write:hasOtherVisualElement ; write:hasDecorativeArtworkType ; write:hasSeal false ; write:hasUnit , . a wd:Q1400264 ; wdt:P2561 "Biface Graphy 双面书法" ; wdt:P276 ; wdt:P453 ; wdt:P527 , ; wdt:P571 "2009"^^xsd:gYear ; wdt:P800 ; write:description """Biface Graphy is an artistic collective and calligraphic practice founded by Zhang Qiang and Lia Wei. Operating between calligraphy, performance, and installation, the collective develops projects ranging from performative writing sessions to large-scale spatial and landscape interventions.\r Rooted in the Literati tradition as a shared mode of practice, Biface Graphy conceives calligraphy as a relational process rather than a linguistic one. The two artists write simultaneously on opposite sides of a vertically suspended, translucent scroll, using brushes and ink. The resulting script is intentionally unreadable and emerges from the interaction of gestures, pressure, and movement rather than from premeditated characters.\r The scroll and its supporting structure function as an abstract “machine” that generates a continuous visual language, where form and content coincide. Over time, the collective’s practice evolved toward greater fluidity and spontaneity, giving rise to an emergent shared language shaped by mutual awareness and performative interaction.\r Through the “Open Scroll” installations, Biface Graphy extends calligraphy beyond the studio into architectural and natural environments, redefining it as a spatial, performative, and collective art form.""" ; write:isCalligrapherOf . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "Ten Tang Poems (唐诗十首)"@en, "唐诗十首"@zh, "Tángshī shí shǒu"@zh-Latn ; wdt:P175 ; wdt:P180 , , , ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P276 ; wdt:P585 "2000"^^xsd:gYear, "2001"^^xsd:gYear ; wdt:P941 ; write:calligrapher ; write:createsArtwork , ; write:description """In this performance Qiu Zhijie writes inversely ten poems from the Tang Dynasty (618-907). The poems are written from left to right and from bottom to the top. Every stroke order is also written inversely.\r Playing a video of the performance backward, the poems are erased as they are written, turning calligraphy into an "anti-calligraphy". The video is part of an installation where the ten calligraphies of the Tang poems written on paper hung on the wall of the exhibition room, create a paradoxical relationship with the video."""@en ; write:hasPerformingArtworkType ; write:hasUnit ; write:madeUsingTool wd:Q614467 . a write:DecorativeAndAppliedArt ; wdt:P1071 ; wdt:P1476 "Polly Ho and Andy Wong - Garment from the collection “Intangible Tangent”"@en ; wdt:P179 ; wdt:P180 , ; wdt:P186 , , , ; wdt:P287 , ; wdt:P462 , , ; wdt:P571 "2017"^^xsd:gYear ; wdt:P608 ; wdt:P941 , ; sch:thumbnailUrl ; write:description """This garment belongs to the iconic series of five garments designed by Polly Ho and Andy Wong, inspired by the calligraphic works of Tong Yang-tze. The collection was created on the occasion of the exhibition "From Ink To Apparel II" (Duyi 讀衣II), held in Taipei in 2017, which explored the relationship between contemporary fashion design and Chinese calligraphy.\r Within this project, the garments seek to translate the fluidity and dynamism of calligraphic movement into a wearable form. \r The garment is constructed through an ensemble of strips made from three different types of silk fabrics, whose silhouette derives from the expressive brushstrokes of the renowned calligrapher. These elements generate a sense of rhythm and motion that recalls the gestural quality of ink on paper. Enlarged prints of Tong Yang-tze’s calligraphic lines are applied to the strips, extending the visual language of the original works onto the textile surface.\r Through this series, the designer investigates what she defines as the “complicated and strong” strokes and movements characteristic of Tong Yang-tze’s calligraphy, translating their expressive intensity into materiality, structure, and volume within the garment."""@en ; write:hasChineseConcept ; write:hasColophon false ; write:hasDecorativeArtworkType ; write:hasSeal false ; write:hasUnit ; sch:image . a wd:Q184485 ; wdt:P1132 2 ; wdt:P1303 ; wdt:P1476 """Zhang Qiang's Traceology Report A/B 50 (Sophia) Model - performance/installation: plaster's geometric shapes [张强踪迹学报告A/B 50 (索非亚) 模型 - 行为/ 装置：石膏几何体]\r """@en, "张强踪迹学报告 A/B 50 (索非亚) 模型 - 行为/ 装置：石膏几何体"@zh, "Zhāng Qiáng zōngjī xué bàogào A/B 50 (Suǒfēiyà) móxíng - xíngwéi/ zhuāngzhì: shígāo jǐhétǐ"@zh-Latn ; wdt:P175 , ; wdt:P179 ; wdt:P180 , , , , ; wdt:P186 wd:Q11472, wd:Q127418, wd:Q183670 ; wdt:P2047 "PT4H"^^xsd:duration ; wdt:P276 ; wdt:P585 "1998-03-03"^^xsd:date ; sch:thumbnailUrl ; write:calligrapher ; write:description """In this four-hour performance, Zhang Qiang writes on sheets of paper and on geometric shapes made of white chalk. The artist is seen from behind and never looks at where he paints, while the female British counterpart named Sophia Huist conveys the artist's movements. She moves the paper or objects on which Zhang Qiang is working, thus shattering, or deconstructing his work. After being used for the performance, these geometric shapes will be also used for an installation. The performance is accompanied by a recorded traditional Chinese music played with the guqin 古琴 (a plucked seven-string Chinese musical instrument). \r About the performance, Zhang Qiang says: "The aim of this performance is looking for our spiritual, entire, honest and beautiful language. I don't know if I have this ability or not, but I try looking for it together with painters all over the world. This is not a work for only one person, this is a humanity work". (Barrass 2002: 256-259)\r This performance is part of the series "Zhang Qiang's Traceology A/B Model (Zhang Qiang zongji xue A/B moxing 张强踪迹学 A/B 模型, 1990-2000). """@en ; write:hasChineseConcept ; write:hasMusicStyle "traditional Chinese music" ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image ; write:madeUsingTool wd:Q614467 . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Zhang Qiang's Traceology A/B Model (张强踪迹学报告 A/B 模型)"@en, " 张强踪迹学报告 A/B 模型"@zh, "Zhāng Qiáng zōngjī xué bàogào A/B 50 móxíng"@zh-Latn ; wdt:P170 ; wdt:P580 "1990"^^xsd:gYear ; wdt:P582 "2000"^^xsd:gYear ; sch:thumbnailUrl ; write:description """This traceology series lasts from 1990 to 2000. In this series, Zhang Qiang established cooperative relationships with 100 different women.\r Zhang Qiang realizes calligraphy, and each woman operates according to her own will, including the movement range of the paper, the size of the brush and the intensity of the ink used, and even when the performances will stop. Zhang Qiang turned his side or back when writing, and no longer looked at the paper he was writing on. The content of the writing is realized extemporaneously. He sometimes writes recognizable Chinese characters and other times the characters are deconstructed due to the movement of the female counterpart. Since Zhang Qiang no longer looks at the paper, the woman can decide all the performance results. \r Each collaboration includes 8 works on paper and sometimes also on plaster's geometric shapes. During the performance, other factors also come into play, such as the personal situation of the women, a dialogue with them, piped music, documentary photos of the performance process, and usually some spectators. However, performances are recorded only on rare occasions.\r Variable system of the "Zhang Qiang's Traceology Report A/B Model":\r (1) After B30, some cooperation began to be presented in the form of questions and answers.\r (2) From B21, performances began to involve women from ethnic minorities. \r (3) From B24, performances began to involve foreign women.\r (4) From B50, calligraphy began to appear on solid geometric shapes made of plaster.\r (5) From B55, calligraphy began to be on swimsuit and bodies of the cooperating women.\r (6) The calligraphy of the performance B94 is realized on clothes made of rice paper."""@en ; sch:image ; write:includesArtwork , , , . a wd:Q184485 ; wdt:P1132 2 ; wdt:P1476 "Celestial Body/Zhang Qiang's Traceology Report A/B 55 (Li Ensu) Model: One Beach Sensation [天体／张强踪迹学报告 A/B 55 (李恩素) 模型：海滩感觉之一]"@en, "天体／张强踪迹学报告 A/B 55 (李恩素) 模型：海滩感觉之一"@zh, "Tiāntǐ/Zhāng Qiáng zōngjī xué bàogào A/B 55 (Lǐ' Ēnsù) móxíng: hǎitān gǎnjué zhī yī"@zh-Latn ; wdt:P175 , ; wdt:P179 ; wdt:P180 , , , , , ; wdt:P186 wd:Q127418, wd:Q212989, wd:Q23852 ; wdt:P2047 "PT40M"^^xsd:duration ; wdt:P276 ; wdt:P585 "1998-08-07"^^xsd:date ; sch:thumbnailUrl ; write:calligrapher ; write:description "This performance takes place on August 7, 1998 at the Shidao Hotel Frontier Beach, Weihai (Shandong Province). This is the first time Zhang Qiang experiences writing on human body. The woman Li Ensu is wearing only a swimsuit and Zhang Qiang covers her swimsuit and body with black ink traces, turning his back to the subject. Although the artist's intent is writing recognizable Chinese characters and sentences, the three-dimensional bumps and movements of the female counterpart transform writing into simple ink traces. "@en ; write:hasChineseConcept ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image ; write:madeUsingTool wd:Q614467 . a write:DecorativeAndAppliedArt ; wdt:P1071 ; wdt:P1476 "Zhang Qiang Traceology Report A/B94 (Cao Rui) Model [张强踪迹学报告 A/B 94 (曹蕊) 模型的艺术品] - Artwork"@en, "张强踪迹学报告 A/B 94 (曹蕊) 模型的艺术品"@zh, "Zhāng Qiáng zōngjì xué bàogào A/B 94 (Cáo Ruǐ) móxíng de yìshù pǐn"@zh-Latn ; wdt:P179 ; wdt:P180 , , , , , , ; wdt:P186 , ; wdt:P287 , ; wdt:P462 , ; wdt:P571 "2000-05-01"^^xsd:date ; sch:thumbnailUrl ; write:derivesFrom ; write:description "This artwork is a \"painted\" paper dress that is created during the performance \"Zhang Qiang's Traceology Report A/B 94 (Cao Rui) Model [张强踪迹学报告 A/B 94 (曹蕊) 模型]\". Zhang Qiang introduces the new concept of “conceptual clothing” (guannian fuzhuang 观念服装) (Zhang 2017: 61-62). This is the first time that Zhang Qiang uses dresses for his \"Traceology performances\". For this performance, Zhang Qiang collaborates with Zhao Jingyu 赵泾羽, a Beijing fashion designer specializing in western styles who makes dresses for him out of white calligraphy paper. Her creations are put on by the professional model Cao Rui 曹蕊, who assists Zhang Qiang in his art by allowing him to paint on the paper dresses she is wearing."@en ; write:hasChineseConcept ; write:hasColophon false ; write:hasDecorativeArtworkType ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q184485 ; wdt:P1132 2 ; wdt:P1303 , ; wdt:P1476 "Zhang Qiang's Traceology Report A/C 24 (Chi Wu) Model [张强踪迹学报告 A/C 24 (赤乌) 模型]"@en, "张强踪迹学报告 A/C 24 (赤乌) 模型"@zh, "Zhāng Qiáng zōngjī xué bàogào A/C 24 (Chì Wū) móxíng"@zh-Latn ; wdt:P175 , ; wdt:P179 ; wdt:P180 , , , , , , ; wdt:P186 wd:Q127418, wd:Q23852 ; wdt:P2047 "PT15M"^^xsd:duration ; wdt:P276 ; wdt:P585 "2004-05-04"^^xsd:date ; sch:thumbnailUrl , , ; write:calligrapher ; write:description """This performance takes place in Zhang Qiang's studio of Chongqing in May 5th, 2004. Zhang Qiang writes on the body of his female counterpart Chi Wu 赤乌. After being "traced" by Zhang Qiang, the performer Chi Wu (whose real name is Ma Yuanyuan 马媛媛) performs the "sword dance" (jianwu 剑舞), one of the four classical dances used in Chinese opera. While holding the sword, Chi Wu has two red Chinese knots tied to her wrist. Chi Wu's lips are also red, but painted only in the middle, not completely. The performance is accompanied by traditional Chinese music in the background, played with the guqin 古琴 and the guzhen 古筝, two typical Chinese musical instruments.\r The sword dance originated from Gansu. It was popular in folk before the period of Emperess Wu 武 (624-705). Then it was introduced to Chang An and became the imperial dance. The sword dance was not only a famous dance, but also had great influence on Chinese poetry and calligraphy art. The poet Du Fu 杜甫 (712-770) for example, ever wrote famous poem related to the dances of the sword dance. It is also said that the calligrapher Zhang Xu 张旭 (fl. 8th century) was enlightened by the sword dance and form his own style. """@en ; write:hasChineseConcept ; write:hasChineseVisualElement , ; write:hasMusicStyle "traditional chinese music" ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image , , ; write:madeUsingTool wd:Q614467 . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Artworks of Free Cloud Calligraphy (云自在书)"@en, "云自在书"@zh, "Yún zìzài shū"@zh-Latn ; wdt:P170 , ; wdt:P179 ; wdt:P180 , , , , , ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2020-08-02"^^xsd:date ; wdt:P856 , , ; sch:thumbnailUrl ; write:derivesFrom ; write:description "These artworks (n. 51, 52 and 53) are created during the performance \"Free Cloud Calligraphy (云自在书)\". In this performance, Zhang Qiang creates the so-called \"Blinded Calligraphy\" (mang shu 盲书): looking away, the artist holds up an ink-soaked brush, creating traces of ink while the female counterpart Ding Feifei 丁斐斐 moves a sheet of paper or silk over his head, as if to simulate the movement of clouds in the sky. "@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "Writing the Orchid Pavilion Preface One Time (书写兰亭序一遍)"@en, "书写兰亭序一遍"@zh, "Shūxiě Lántíng Xù yībiàn"@zh-Latn ; wdt:P175 ; wdt:P179 ; wdt:P180 , , , , , , , ; wdt:P186 wd:Q127418, wd:Q97722170 ; wdt:P2047 "PT1H30M"^^xsd:duration ; wdt:P276 ; wdt:P585 "2021"^^xsd:gYear ; wdt:P941 , ; sch:thumbnailUrl ; write:calligrapher ; write:createsArtwork ; write:description """This performance is held in Macau in 2021. The artist Wu Xixia 吴析夏 enters in an airtight inflatable sphere that symbolizes the uterus and begins to write inside the “Orchid Pavilion Preface” (Lanting Xu 兰亭序) composed by Wang Xizhi 王羲之 (303–361) in 353. The Lanting Xu 兰亭序 is known as "the world's largest calligraphy performance" (tianxia di yi xing shu 天下第一行书). During the Wu Xixia writing process, the different forms of the twenty zhi 之 characters present in the poem, which have always been praised and imitated by all Chinese calligraphers, were replaced with visible red ink male phalluses. The zhi 之 character is one of the most important calligraphic symbol in traditional Chinese culture. A lot of calligraphy masters are essentially men, except for a small number of female calligraphers such as, for example, He Xiangning 何香凝 (1878 - 1972). Therefore, in this performance the character zhi 之, as a symbol of order, represents the "authority" (quanwei 权威). The nightgown worn by the artist and the bruises all over her body also represent the state of domestic violence suffered by women from men in history. This performance art is defined by the artist as a "non-literary" work (fei wenxue xing 非文学性) and aims to shake the consciences of people who take part in it. During the writing process, the oxygen inside the sphere is gradually depleted, infusing it with carbon dioxide. Just before suffocating, the artist will ask for help to get out of the sphere. Wu Xixia calls this type of performance “a self-redemption with the aim of suffocating” (yi chang yi zhixi wei mudi de zi wo jiushu 一场以窒息为目的的自我救赎).\r Wu Xixia has learned calligraphy from her grandfather since she was a child, and she considers it a great identity and cultural value. Calligraphic rules are determined by ancestors, tradition and authority. The patriarchal symbol of traditional culture has been ingrained in the minds of the Chinese people through ethics, morality and customs for thousands of years, penetrating every corner of society through the mass media, and has been handed down to the present day. The reason for Wu Xixia's choice to rewrite the “Orchid Pavilion Preface” is not only because it is the calligraphic collection that the artist has practiced the most since she was a child, but also because it pays homage to the work “Writing the 'Orchid Pavilion Preface' One Thousand Times” (Chongfu shuxie yi qian bian 'Lantingxu' 重复书写一千 遍 '兰亭序', 1990-1995) realized by Qiu Zhijie.\r Another similar performance titled “Writing the Orchid Pavillon for the Second Time” (书写兰亭序第二遍) takes place during the Wuzhen Theater Festival (Wuzhen xiju jie 乌镇戏剧节) on November 27, 2022. In this case, Wu Xixia writes inside an airtight sphere placed in the water. The long snake-shaped strip that surrounds the sphere is an inflatable model that simulates the shape of an umbilical cord, on which are written some idiomatic sentences such as: “chibaole chengde 吃饱了撑的” (restless from overeating); “chi tai bao le 吃太饱了” (eat too full); “huazhong quchong 哗众取宠” (try to please the public with claptrap); “buru zhongtian 不如种田” (it is better to farm); “yishu yi si 艺术已死” (art is dead); “yishu shi laji 艺术是垃圾” (art is rubbish); “hebu shi rou mi 何不食肉糜” (to be oblivious to other people’s plight). \r The writing process of this performance has three main characteristics: \r 1) The replacement of the four characters "Zhi hu zhe ye 之乎者也" present in the original text with a "secret" female writing style, defined as "nü shu 女书". \r 2) The character ye 也 is replaced with the female vagina symbol. In fact, in oracle bones and bronze inscriptions the original form of "ye 也" is a part of the female body resembling a vagina. As Xu Shen 许慎 (c. 58 – c. 148 BC) calligrapher of the Eastern Han dynasty wrote in his "Shuowen Jiezi 说文解字" (“Explaining Graphs and Analyzing Characters”) the character ye 也 really means "female vagina". \r 3) The writing process is combined with the audience's emotional participation in the performance."""@en ; write:hasChineseConcept , ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image ; write:madeUsingTool wd:Q614467 . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Writing the Orchid Pavilion Preface One Time (书写兰亭序一遍) - Artwork"@en, "书写兰亭序一遍"@zh, "Shūxiě Lántíng xù yī biàn"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , , , , , ; wdt:P186 , ; wdt:P462 , , ; wdt:P571 "2021"^^xsd:gYear ; wdt:P941 , ; wdt:P608 ; sch:thumbnailUrl ; write:derivesFrom ; write:description """This artwork is created during the performance "Writing the Orchid Pavilion Preface One Time (Shuxie Lanting Xu yibian 书写兰亭序一遍)" held in Macau in 2021. It is an airtight plastic sphere on which Wu Xixia writes inside the “Orchid Pavilion Preface” composed by Wang Xizhi 王羲之 (303–361) in 353. During the writing process, the different forms of the twenty zhi 之 characters present in the poem, which have always been praised and imitated by all Chinese calligraphers, were replaced with visible red ink male phalluses. The character zhi 之, as a symbol of order, represents the "authority" (quanwei 权威).\r This artwork then became part of the installation held in Beijing in 2021 called "Her Mountain" (Ta shan 她山) in which Wu Xixia creates a "mountain of blood" full of symbols linked to childbirth and the female womb (such as some foetuses lying in red wedges) to talk about gender issues in contemporary society."""@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Her Mountain (她山)"@en, "她山"@zh, "Tā shān"@zh-Latn ; wdt:P170 ; wdt:P180 , , , , , , ; wdt:P186 ; wdt:P462 , , , ; wdt:P571 "2021-12"^^xsd:gYearMonth ; wdt:P608 ; write:description """The installation "Her Mountain" (Ta shan 她山) is exhibited in Beijing in 2021 in occasion of the "Wu Xixia Personal Art Exhibition" (Wu Xixia ge zhan 吴析夏个展) held from December 6 to 20, 2021 at the Song Yang Art Museum (Song Yang meishu guan 宋洋美术馆). The artist Wu Xixia creates a "mountain of blood" full of symbols linked to childbirth and the female womb (such as some foetuses lying in red wedges) to talk about gender issues in contemporary society. The form of the entire installation is combined with the Da Henggin Mountain 大横琴山 and Xiao Hengqin Mountain 小横琴山 (two mountain ranges of Hengqin Island, in Zhuhai, Guangdong Province) visible behind the glass windows. Just as gravel collects in a mountain range, women form a "group". The red-flecked stainless steel flowers blooming on "Her-Mountain" represent the "blossoming" of spiritual consciousness. In the installation, there are also the three closed spheres resulting from the three feminist-themed performative works realized bu Wu Xixia. The "mountains" and "spheres" represent respectively the "groups" and "individuals" in the process of awakening the female consciousness. \r The three spheres resulting from the performance are: \r 1) "I" (Wo 我, 2020) a work that reconciles personal identity and gender. Wu Xixia carries out a reflection on women and herself, writing the labels of society’s goodwill and malice towards women with red ink, such as "whore" (biao zi 婊子) "old maid" (lao chunu 老处女), "good wife and loving mother" (xian qiliang mu 贤妻良母), "green tea bitch" (luchabiao 绿茶婊), "teenage girl" (yunu 玉女), "white lotus" (bailian hua 白莲花), etc. She answers questions such as: "Who are women? And who am I? Is my gender determined by birth or is it given by society? There is a womb here, but where is the "mother"?". Having been rejected by her family at the time of her birth as a female, she has been questioning her gender throughout her formative years, and the social labels she writes about are an attempt to reconcile herself with her gender identity.\r 2) "Darling" (2021) in which Wu Xixia performs in front of a building called "Darling". The building was covered with red ribbons, which spread all the way to the inflatable ball. Wu Xixia writes the words "jiu jiu wo 救救我" (help me); "qiuqiu ni 求求你" (I beg you), "bie sha wo 别杀我" (don't kill me); "bie S wo 别S我" (don't fuck me), etc. inside the hermetic sphere. The female body becomes an object of desire and "objectification" under the male gaze. In the process of doing performance art, passers-by, especially men, took photos with various poses and angles nearby. In the course of more than 40 minutes, the artist lay quietly on the ground to receive everyone’s gaze, to begin to write down the words for help. Red gives a signal of judgment, and the red ribbon is the concretization of the female body being stared at. The building covered with red ribbons symbolize the existing and massive examination of the female body. The artist wraps the red ribbon of the building on the inflatable ball, representing the current situation of women who are looking at fearlessly and pursuing physical freedom, but it is still difficult to escape from the scrutiny. In the past, the female body has always been hidden. Nowadays, with the awakening of female consciousness, women break free from the shackles and turn from invisibility to openness and fearless publicity. In this transition, the female body is no longer a private and invisible object, but exposed to the public eye. Just as the protagonist of this performance art puts herself under public scrutiny, it is a challenge, but cannot escape scrutiny. This performance aims to arouse people's attention to the predicament of women breaking free from physical examination (wuwei shenshi 无畏审视). A screen with the photo/video of the performance in progress is also present in the installation.\r 3) "Writing the Orchid Pavilion Preface One time" (Shuxie Lanting Xu yi bian 书写兰亭序一遍, 2021) which attempts to break the traditional rules of Chinese calligraphy. The characters are written with a brush dipped in black ink and the different forms of the twenty zhi 之 characters present in the traditional poem are replaced with visible red ink male phalluses.\r The three independent spheres and the surrounding red mountains complement each other, presenting a utopia in which the "self" (inner world) and the whole (external world) "bloom" in the process of awakening the female consciousness."""@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit , , ; write:usesArtwork , , . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "Anatomy of Posidonia"@en ; wdt:P175 ; wdt:P180 , , , , , ; wdt:P186 wd:Q123857363, wd:Q184395 ; wdt:P2047 "PT1H"^^xsd:duration ; wdt:P276 ; wdt:P585 "2022-09-20"^^xsd:date ; wdt:P608 ; sch:thumbnailUrl , , , ; write:calligrapher ; write:createsArtwork ; write:description """This performance is realized by Echo Morgan in occasion of the 3rd Edition of the "Territori - Ibiza Performance Art Festival" (17-25 September, 2022) which takes place in Ibiza, Spain. In this performance, Echo Morgan's face is painted white and with a compound made of chlorophyll powder mixed with seawater, she writes "Anatomy de la Posidonia" on her face. She is dressed in white and starts to drip her hair in the compound made of chlorophyll powder mixed with seawater. After dipping her hair, she starts to drip the mixture all over her body and begins to move on a white sheet, about 11 metres long. With various body movements, accompanied by some verses and vocal sounds, the artist becomes a brush and leaves "imprints" and marks of her body's passage on the sheet. \r Many people call chlorophyll "plant blood." This molecule is responsible for the ability of plants to convert sunlight into energy through photosynthesis. Through this gestures and body movements, the artist highlights the intelligence of nature and invites the public to re-immerse themselves in nature, giving life to a more "primitive" approach to the surrounding environment. In this performance, Echo Morgan reflects also on the femininity of Posidonia, one of the only plants that flowers and fruits in the sea. Just as a mother provides security, nourishment, and protection to her family, Posidonia provides stability for beaches, serves as a carbon sink, and provides a haven for marine fauna. It filters and oxygenates the water, much like women who organises and purify their homes and communities. Posidonia is also fragile, despite its 100,000 years of strength and wisdom, due to climate change and pollution from tourism. A scar from a large boat in the meadow can take a century to recover. Studies have found that 29% of Posidonia has been lost since 1879. This loss of Posidonia meadows due to human activity highlights the urgent need for greater respect and care for our natural environment and the feminine qualities it represents. It serves as a reflection of the scars that women often bear due to the damaging effects of patriarchy and misogyny. \r As Echo Morgan explained in a recent interview: "The wild and abstract body movements depicted in the hair painting are closely associated with the subject of femininity and freedom - a source of power that also signifies vulnerability and subservience. The painting itself illustrates microscopic images of fertilized Posidonia seeds with eggs. At 100,000 years old, Posidonia is the oldest and largest living organism in the world, serving as one of the greatest sources of oxygen in the Mediterranean. Each square meter of plant generates between 4 and 20 liters of oxygen per day and provides a home to over 400 plant species and 1,000 animal species. Despite being cherished and protected by the local community, commercial developers and tourists often overlook its importance, making it a vulnerable and endangered species. This performance took place in front of the monument of Vara Del Rey - a Spanish war hero born in Ibiza in 1841 and who died during the Spanish-American War in 1898. Through my performance, I aimed to challenge the concept of his heroic status and ask whether he is also seen as a hero in the eyes of Cubans. Drawing inspiration from the Chinese political criminal, Nobel Peace Prize winner, and democracy activist Liu Xiaobo's quote, "Scepter's Terracotta Army. Amazed the entire world. A tomb that is more majestic than the palace. Our long history, relying on the emperor's grave to show off glory," I aimed to shift the focus towards celebrating and protecting other species rather than glorifying colonial rulers.This performance was also inspired by a local Catalan feminist funk band called Pussydonia".\r \r During the Festival, few days before this performance (17th September), Echo Morgan also did another performance on the beach entitled "Echo of Posidonia", where she painted her body white and green and became a Posidonia plant. During the performance, the artist had herself "chained" with 12 heavy metal yacht chains by the audience on the beach and delivered a speech about protecting the marine environment and the culture of the locals. The artist says: "[...] For the echoes of Posidonia, the scarred meadows under the sea. For the millions of refugees adrift in the ocean, some of whom drown in the Mediterranean Sea. For visitors to show more respect for the indigenous culture, Catalan language and their beloved sea".\r \r Echo Morgan has also realised other performances in which she "became brush" and makes use of ink-soaked hair, such as:\r 1) "I Am A Brush" (2011) at the Royal College of Art of London. This is the first artist's live performance and it lasted three and a half hours until the end of the roll had been reached. In 2011, Xie Rong's decision to return to full-time study and continue her Master of Arts, ended her seven-year marriage. Following the Chinese custom, the mother combs hair and blesses the bride the night before the wedding. Young women often cut their hair and put it in a small bag to give to their loved one. Using hair to make his first live art work was a symbolic reflection of the artist's changing personal life, it is like "cutting" ties with the past, an act of rebirth and separation. During the exhibition “Home” (Jia家) (18th March - 20th April 2017) Xie Rong decides to curate the long "expression" into individual pieces. As a metaphor for endings and beginnings, Xie deems the act of cutting the paper as akin to cutting one’s hair. \r 2) "Circle of Fire, the Dying Spite of Yi" (2018) at the Röda Sten Konsthall Gallery of Gothenburg (Sweden). In this performance, Echo Morgan is always dressed in white and paints on a circular sheet of paper with her hair dipped in red ink. She told the story of the Yi minority in Sichuan, where many people died of AIDS, leaving behind a large number of orphans and HIV-positive mothers.\r 3) "Painting until it becomes Marble - Love Never Dies" (2019) at the Museum of Fine Arts of Leipzig (Germany). Reverently and ceremoniously, the artist stood quietly in the huge empty space with extremely high floor-to-ceiling windows emitting a background of pure light. Dressed all in white, Xie Rong stood with two bowls at her feet, one filled with Chinese black ink and the other with pure blue pigment powder. The artist combed the ink through her long black hair, saturating it and began to paint on a very large paper on the floor. Rong’s barefooted dance began – at first light and graceful like a ballerina, then more intensely, furiously jumping as her drenched hair splattered paint in all directions and on herself. The chaotic calligraphy continued with her head to the floor, making brush strokes. Kneeling with her head down on the paper, submitting to the work in reverence, she made thicker strokes and swirls. \r """@en ; write:hasChineseConcept ; write:hasChineseVisualElement ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image , , , ; write:madeUsingTool wd:Q23852, wd:Q28472 ; sch:video . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "Chinese Knot - Chapter Three : She/Her (结 - 第三章 : 她)"@en, "结 - 第三章 : 她"@zh, "Jié - Dì sān zhāng: Tā"@zh-Latn ; wdt:P175 ; wdt:P179 ; wdt:P180 , , , , ; wdt:P186 wd:Q127418, wd:Q23852 ; wdt:P2047 "PT30M"^^xsd:duration ; wdt:P276 ; wdt:P585 "2022-06-19"^^xsd:date ; wdt:P608 ; sch:thumbnailUrl ; write:calligrapher ; write:description """This performance takes place in Linz (Austria) in 2022 in occasion of the "Performance Festival: Non-fungible Body?" (June, 16 - 19). The artist Echo Morgan, after colouring her body white, writes Chinese characters in red ink all over her body. Chinese words are logographic and their construction often explains their historical meaning. The Chinese word "ta 她"(she/her) is composed of the words "female" + "also". The usage of the word "ta 她" as a female pronoun did not become prevalent until the 1920s, when first introduced by Liu Bannong 刘半农 (1891-1934) for translating western literature purpose. Despite many controversy, the pronoun "ta 她" was an unique and an important symbol during the women’s movement in China. Sadly, there are many Chinese words with the character "nü 女" (female) that contain negative attitude towards to women. These words seem traditionally neutral but embodied the unconsidered misogynistic culture that women are so hunted. For this, Echo Morgan's body becomes a scroll of "patriarchal text" and she decides to cover her body with these kind of words, such as: "jian 奸" (rape); "nuan 奻" (stupid); "jian 姦" (evil); "yao 妖" (demon); "biao 婊"(bitch); "piao 嫖"(brothe); "pin 姘"(mistress); "chang 娼"(whore); "ji 妓"(prostitute); "nu 奴"(slave); "shua 耍"(play); "lan 婪"(greed); "ning 佞"(insincerity); "wang 妄" (foolish); "yu 娱"(entertainment); "xian 嫌"(fedup); "fang 妨"(harm); "ji 嫉" (envy) ; "du 妒" (jealous); "bi 妣" (dead mother); "ban 姅" (miscarriage). She also covers her body with famous Chinese female saying such as: “Three Obediences and Four Virtues” (san cong si de 三从四德); “A woman's virtue is to have no talent" (nuzi wu cai bian shi de 女子无才便是德); "Men are superior and women are inferior” (nan zun nu bei 男尊女卑); "Beauty leads to disaster/femme fatale” (hongyanhuoshui 红颜祸水), etc. In this performance, the artist also contrasts the female symbol, linguistically associated with insulting or discrediting words (expressed by the Chinese characters written on the artist's body) and the Chinese knot symbol, which has always been linguistically associated with "positive" meanings of union and harmony such as: "jiehun 结婚" (marriage); "jiejiao 结交" (associate); "jieguo 结果" (bear fruit/results); "jieshu 结束" (finish); "tuanjie 团结" (union/solidarity); "jiu jie 揪结" (entangled); "xin jie 心结" (heart knot). After having painted herself, the artist ties her body to red curtains previously installed inside the building where the performance takes place, making sounds and creating different movements with the body. The red curtains represent the "trap" within which the woman's body is a victim of society and patriarchy and from which the artist will symbolically free herself at the end of the performance.\r This performance is part of a chapters series entitled "Jie: Chinese Knot" (Zhongguo jie 中国结) divided into six moments. As Echo Morgan explains, before the invention of writing, people in ancient China tied knots on a rope to memorise important life events. The knotted symbol represents happiness, unity, harmony and prosperity. Ironically, the way the character itself is written also echoes sadness, death and ending. This literal double-bind serves the artist to dive into the story of a woman chained in a doorless shack that went viral on Chinese Social Media in late January 2022. Her tragic case of human trafficking accumulated more than 10 billion views, rivalling those about the Beijing Winter Olympics that took place at the same time. In her performance Echo Morgan engages with this highly mediated incident. By activating the pictorial capacity of a Chinese knot installation, she engages its traditional motif to become an in-between space of social, political and artistic expression.\r \r The other five chapters are: 1) Chinese Knot - Chapter One: Become Little Plum Blossom (Jie - di yi zhang: Bian cheng xiaohua mei 结 - 第一章 : 变成小花梅); 2) Chinese Knot - Chapter Two: Know her name, remember her name (Jie - di er zhang: Zhixiao ta xingming, laoji ta xingming结 - 第二章 : 知晓她姓名, 牢记她姓名); 3) Chinese Knot - Chapter Four: The Non-interchangeable Body (Jie - di si zhang: Buke hu huan de shenti 结 - 第四章 : 不可互换的身体); 4) Chinese Knot - Chapter Five: Red Planet (Jie - di wu zhang: Hongse xingqiu 结 - 第五章 : 红色星球); 5) Chinese Knot - Chapter Six: Viennese Theater (Jie - di liu zhang: Weiyena juyuan 结 - 第六章 : 维也纳剧院)."""@en ; write:hasChineseConcept ; write:hasChineseVisualElement ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image ; write:madeUsingTool wd:Q614467 ; sch:video . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Ⅰ (我) - Artwork"@en, "我"@zh, "Wǒ"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P462 , ; wdt:P571 "2020-11"^^xsd:gYearMonth ; sch:thumbnailUrl ; write:derivesFrom ; write:description "This is the artwork realized during the performance \"I\" (Wo 我) and then leaving as an installation in the exhibition space where the performance was held. This artwork was then used as part of the installation \"Her Mountain\" (Ta shan 她山) exposed in Beijing in 2021 in occasion of the \"Wu Xixia Personal Art Exhibition\" (Wu Xixia ge zhan 吴析夏个展 - December 6 to 20, 2021) at the Song Yang Art Museum (Song Yang meishu guan 宋洋美术馆). In this artwork, Wu Xixia reconciles personal identity and gender and carries out a reflection on women and herself, writing the labels of society’s goodwill and malice towards women with red ink, such as \"whore\" (biao zi 婊子) \"old maid\" (lao chunu 老处女), \"good wife and loving mother\" (xian qiliang mu 贤妻良母), \"green tea bitch\" (luchabiao 绿茶婊), \"teenage girl\" (yunu 玉女), \"white lotus\" (bailian hua 白莲花), etc. She answers questions such as: \"Who are women? And who am I? Is my gender determined by birth or is it given by society? There is a womb here, but where is the \"mother\"?\". Having been rejected by her family at the time of her birth as a female, she has been questioning her gender throughout her formative years, and the social labels she writes about are an attempt to reconcile herself with her gender identity."@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Darling - Artwork"@en ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , , , , ; wdt:P186 , , ; wdt:P462 , ; wdt:P571 "2021-09"^^xsd:gYearMonth ; sch:thumbnailUrl ; write:derivesFrom ; write:description """This is the arwork created during the performance "Darling" held in 2021 in Macau, in front of a building called “Darling” and then constituting an on-site installation. This artwork was then used as part of the installation "Her Mountain" (Ta shan 她山）exposed in Beijing in 2021 in occasion of the "Wu Xixia Personal Art Exhibition" (Wu Xixia ge zhan 吴析夏个展 - December 6 to 20, 2021) at the Song Yang Art Museum (Song Yang meishu guan 宋洋美术馆). Other two inflatable balls originated from other two performances complete the installation. \r On this inflatable ball, Wu Xixia wrote expressions, such as "jiu jiu wo 救救我" (help me), "qiuqiu ni 求求你" (I beg you), "bie sha wo 别杀我" (don't kill me), "bie S wo 别S我" (don't fuck me), etc. Writing these words in red color, the artist wants to attract the public audience, giving a feminist message. """@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Sun Ping 孙平" ; wdt:P27 ; wdt:P453 ; wdt:P569 "1953-09-20"^^xsd:date ; wdt:P800 , ; wdt:P812 ; wdt:P937 ; write:description "Born in Heilongjiang in 1953, Sun Ping joined the “China Artists Association” (Zhongguo meishu jia xiehui 中国美术家协会) in 1982 and graduated from the “Guangzhou Academy of Fine Arts” (Zhongguo Guangzhou meishu xueyuan 中国广州美术学院) in China in 1987. In 1990 he created the series “Trace” (Henji 痕迹) and in 1991 he created the series “Acupuncture” (Zhenjiu 针灸). In 1993, he participated in the “Travelling Exhibition of Post-1989 Chinese Contemporary Art” (Hou ‘89 Zhongguo dangdai yishu xunhui zhan 后‘89中国当代艺术巡回展) held in Hong Kong and the United States with the painting “Issuing Stocks” (Faxing gupiao 发行股票). In 1998, he participated in the “’98 Asian Modern Art Exhibition” (’98 Yazhou xiandai meishu zhan ‘98亚洲现代美术展). From 1999 to 2000, he participated in the “Cross-Century Rainbow - Gaudy Art Exhibition” (Kua shiji caihong - Yan su yishu zhan 跨世纪彩虹 - 艳俗艺术展) in Tianjin, with “Miss China” (Zhongguo xiaojie 中国小姐). From 1999 to 2002, he founded the magazine “Vision 21” (Shijue 21视觉21)."@en ; write:hasCalligraphicTraining "Present (not specified)"@en . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Artworks of \"Vagina Font\" Calligraphy (\"bi - 体” 书法)"@en, "\"bi - 体” 书法"@zh, "\"Bi - tǐ\" shūfǎ"@zh-Latn ; wdt:P170 , ; wdt:P180 , , , ; wdt:P186 , ; wdt:P462 , , ; wdt:P571 "2013-05-30"^^xsd:date ; write:derivesFrom ; write:description "These artworks are made during the performance \"Vagina Font\" Calligraphy (\"bi - 体” 书法)\" which took place on 30th May 2013, during the Exhibition “Splashed Ink at Venice - The performance of 'Vagina Font' Chinese Calligraphy: 'L’Internationale' and 'The Way of the Brush'” (Mo sa Weinisi - ji “b- ti” shufa biaoyan: “Guojige” yu “bimo zhi dao” shufa biaoyan ji 墨洒威尼斯 - 记 “bi - 体” 书法表演: 《国际歌》与《笔墨之道》书法表演记), in occasion of the “55th Venice Biennale Parallel Exhibition Chinese Independent Art Exhibition - Unseen Voices” (“Di 55 jie Weinisi shuang nian zhan pingxing zhan Zhongguo duli yishu zhan - weiceng chengxian de shengyin” 第55届威尼斯双年展平行展中国独立艺术展 - 未曾呈现的声音). Sun Ping assists his collaborator Luo Shan as she executes calligraphy using a brush dipped in red and black ink inserted inside her vagina. Her movements attempt to reproduce Chinese characters, but finally result in a set of signs and dots."@en ; write:hasVisualArtworkType ; write:hasColophon false ; write:hasSeal false ; write:hasUnit , ; write:madeUsingTool , . a write:DecorativeAndAppliedArt ; wdt:P1071 ; wdt:P1476 "Les Poèmes du Mandarin for Hermès - Invitation to Wine"@en ; wdt:P176 , ; wdt:P179 ; wdt:P180 ; wdt:P186 ; wdt:P2386 "31 cm" ; wdt:P287 , , ; wdt:P462 , ; wdt:P571 "2009"^^xsd:gYear ; wdt:P88 ; wdt:P941 , ; sch:thumbnailUrl ; write:description """Commissioned by Hermès and developed in collaboration with Fu Qiumeng Fine Art, this piece from the “Les Poèmes du Mandarin” collection by Hermès is a white ceramic plate featuring the full text of Li Bai’s poem "Invitation to Wine" (Jiang jin jiu 将进酒) written by Fung Mingchip in non-simplified characters. The calligraphy is rendered in subtle shades of black and grey with delicate platinum accents to evoke the effect of freshly applied, wet ink, and punctuated with small red seals carved by the artist. The calligraphy was first created freehand on traditional rice paper and later digitally adapted by the design studio to fit the ceramic surface. The writing reflects a personal style inspired by xingkai (semi-cursive script), reinterpreted on a reduced and carefully controlled scale. The strokes are exceptionally delicate, at times resembling fine hatchings, giving the script a highly unconventional and experimental quality compared to traditional calligraphic norms. The composition transforms each character into a visual rhythm, highlighting both the expressive potential of the brush and the artist’s innovative approach to classical Chinese calligraphy.\r The plate is presented inside Hermès’ iconic square orange box, emphasizing the combination of classical Chinese poetry with the brand’s contemporary luxury aesthetic. The subtle, almost ethereal quality of the calligraphy, together with the pristine white ceramic, transforms the functional object into a work of art, highlighting both the beauty of the literary text and the innovative approach to calligraphy."""@en ; write:hasColophon true ; write:hasDecorativeArtworkType ; write:hasSeal true ; write:hasUnit ; sch:image . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "Female Character Writing in a Patriarchal Society (父系社会的女字书写)"@en, "父系社会的女字书写"@zh, "Fùxì shèhuì de nǚ zì shūxiě"@zh-Latn ; wdt:P175 ; wdt:P180 , , , , ; wdt:P186 wd:Q127418, wd:Q42948 ; wdt:P2047 "PT3H"^^xsd:duration ; wdt:P276 ; wdt:P585 "2012-03"^^xsd:gYearMonth ; wdt:P608 ; wdt:P941 ; sch:thumbnailUrl , ; write:calligrapher ; write:createsArtwork ; write:description "This performance was held by Li Xinmo in March 2012, during the \"Bald Girls Exhibition\" (tutou ge nu 秃頭戈女) at the Iberia Contemporary Art Space of Beijing. She writes some big traditional characters of the famous Chinese dictionary named \"Shuowen Jiezi 说文解字\" realized by Xu Shen (c. 58 – c. 148 CE). These characters are accompained with their explanations written in smaller size. These big characters with female radical have all a negative meaning, or in any case words that relegate women to a simple \"role\" in society, for example: \"hai 妎\" (jealous/demanding); \"fu 妇\" (woman/wife); \"wang 妄\" (presumptuous/rash); \"lan 婪\" (be greedy); \"fang 妨\" (harm), \"hun 婚\" (married), \"yin 婬\" (lascivious/licentious); \"ning 佞\" (sycophant/toady); \"du 妒\" (jealous/envy); \"qu 娶\" (take a wife); \"wei 委\" (throw away/cast aside); \"zi 姊\" (older sister) etc. Characters are realized with white ink on a black wall in regular script. In addition, they are realized in non-simplified form and from top to bottom and from right to left, recalling ancient scriptures. In China female discrimination has a very ancient origin. It starts from writing and, consequently, from calligraphy, an artistic practice exclusive to male in China.This performance is very reminiscent of Echo Morgan's “Chinese Knot” (see the archive). The only difference is that here the canvas is not a body, but a black wall and the characters are not made in red but in white. All of this once again shows the misogynistic and derogatory nature of Chinese cultural tradition towards women."@en ; write:hasChineseConcept ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image , ; write:madeUsingTool wd:Q614467 . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Dance (舞)"@en, "舞"@zh, "Wǔ"@zh-Latn ; wdt:P170 ; wdt:P180 , ; wdt:P186 , ; wdt:P2048 "53.4 cm" ; wdt:P2049 "55.6 cm" ; wdt:P462 , , , , ; wdt:P571 "1989"^^xsd:gYear ; wdt:P608 ; wdt:P941 , ; sch:thumbnailUrl ; write:description """This visual artwork was created by Wang Dongling during his visit in the United States. It is one example among his several innovative collages that integrate Western images with Chinese characters to form a composition expressing a simple concept. This collage consists of a New York Times article on the American dancer and choreographer Martha Graham, who reshaped the style of American dance with her free, rebellious and courageous spirit. On the English article about the dancer and on his picture, Wang wrote wu 舞, the character for 'dance', in a bold cursive script. The strokes of the character are inspired by Graham's physical posture in motion.\r As backgroud text, Wang added smaller, finer orange-red characters in a dozen of vertical lines. As happens in other collages of the artist, the texts he uses are usually poems selected as a form of supplementary linguistic commentary to produce a multi-layered work. In this case, the text is inspired to the story of Gongsun daniang 公孫大娘, which narrates of a famous sword-dancer of the Tang dynasty. It is said that Zhang Xu (active 710-750) invented his caoshu (cursive script) after watching her dance. This text emphasizes the connection between dance and calligraphy, both of which encapsulate the sense of movement and freedom. \r In these series of works, Wang combines calligraphy, relating the form of the character to the human form, and also relating the movement of the brush to the movement of the human form. If the brush represents gestural language, he is directly and explicitly exposing that relationship to the body, with the form complementing the movement of the body. \r "Dance" does not belong to a specific series, but since the creation of this artwork, Wang has embarked on a whole series of innumerable calligraphic works using art photography in books, magazines and newspapers sheets which, despite the content and the calligraphic forms being different, reflect many of the features present in the the current work. \r """@en ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit , , ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "VR - Wandering Beyond (VR书写《逍遥游》)"@en, "VR书写《逍遥游》"@zh, "VR shūxiě “Xiāoyáo yóu”"@zh-Latn ; wdt:P170 , ; wdt:P180 , , , , , ; wdt:P462 , , ; wdt:P571 "2021-09"^^xsd:gYearMonth ; wdt:P608 ; wdt:P941 ; sch:thumbnailUrl , ; write:derivesFrom ; write:description "This visual artwork is a digital calligraphic piece by Wang Dongling, created with the technical support of Gao Lu. It was realized for the Retrospective Exhibition “From Inception: Wang Dongling 60 Years of Calligraphy” (Hangzhou, 2021). The title and the content derive from the first chapter of the Zhuangzi, titled “Wandering Beyond\" (Xiaoyao you 逍遥游). This text has been written several times by the artist, but in this work it is rendered for the first time through the Virtual Reality technology. Wang Dongling merges his distinctive \"Chaos Script” (luanshu 乱书) with digitally generated brushstrokes, which are continuously emerge, interwine, and dissolve. As Gao (2021, 350) notes, \"the 'chaos' of 'Chaos-Writing' consists in its penetrating through calligraphy's state of torpor with the power of confusion and disorder, in its focus on the essence of the inner structure and 'openness' of writing itself, in bringing back to life the original, generative power of calligraphy.\" This work represents a three-dimensional trace of embodied gestural movements, rather than a fixed inscription. Traditional calligraphic materials and tools such as paper, ink, and brush are replaced by digital and technological tools, producing virtual and immaterial brushstrokes that expand calligraphy into spatial experience. It is important to note that the artwork is not authored solely by the calligrapher, as in pre-digital practices. Instead, it emerges through collaborative processes involving engineers and technical producers. The work therefore exemplifies distributed authorship and the hybridization of artistic and technological expertise."@en ; write:hasVisualArtworkType , , , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image , ; write:usesArtwork ; write:vectorisedOrDigitised true ; sch:video . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Understanding the Twelve Beauty of Jinling (领悟金陵十二金钗) - Artwork"@en, "领悟金陵十二金钗"@zh, " Lǐngwù Jīnlíng shí'èr jīn chāi"@zh-Latn ; wdt:P170 , , ; wdt:P180 , , , ; wdt:P186 , ; wdt:P462 ; wdt:P571 "2017-11-25"^^xsd:date ; wdt:P941 ; write:derivesFrom ; write:description "This artwork is the result of the performance entitled \"Understanding the Twelve Beauty of Jinling\" (Lingwu Jinling shi'er jin chai 领悟金陵十二金钗) which took place at the Yulan Grand Theatre of Dongguan, on November, 25, 2017. In this performance, Pu Lieping together with other two calligraphers Wang Xiaoming 王晓明 and Wang Yong 王勇, painted in black ink the names of the “Twelve Beauties of Jinling” (Jinling shi’er chai金陵十二钗) of the work “Dream of the Red Chamber” (Honglou Meng 红楼梦), a novel composed by Cao Xueqin 曹雪芹 (1710 - 1765) in the middle of the 18th century. On the notes of three traditional instruments such as the guqin 古琴 (a seven-stringed plucked instrument), the erhu 二胡 (a two-stringed bowed instrument) and the hengdi 横笛 (bamboo flute), played respectevely by Wang Kexun 王可迅, Ouyang Mingqiao 欧阳铭桥and Liu Hanchao 刘汉超 the three calligraphers painted, on six different panels, the names of: Lin Daiyu林黛玉, Xue Baochai薛宝钗, Jia Yuanchun贾元春, Jia Tanchun贾探春, Shi Xiangyun史湘云, Miaoyu 妙玉, Jia Yingchun贾迎春, Jia Xichun贾惜春, Wang Xifeng王熙凤, Jia Qiaojie 贾巧姐, Li Wan李纨 and Qin Keqing秦可卿. The music played by the musicians are the three most representative of the novel: Daguan honglou 大观红楼 (A Grand View of the Red Chamber), Honglou xuqu 红楼序曲 (Dream of the Red Chamber Overture) and Zang hua yin葬花吟 (Song of Flower Burial). At first, all three calligraphers use black ink to complete their creation later by filling everything using the colours blue, green, brown, orange and red."@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; write:madeUsingTool . a wd:Q184485 ; wdt:P1132 2 ; wdt:P1476 "Chinese Calligraphy meets Shamanic Music"@en ; wdt:P175 , ; wdt:P180 , , ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P276 , ; wdt:P585 "2018-03-28"^^xsd:date ; wdt:P608 ; wdt:P664 ; wdt:P941 ; sch:thumbnailUrl ; write:calligrapher ; write:createsArtwork ; write:description """This performance took place on March 28, 2018 at the Braidense Library in Milan. to the notes of the voice of the shamanic singer Sainko Namtchylak, the calligrapher Silvio Ferragina begins to write on a white scroll placed vertically in the center of the room (fig. 269). Silvio Ferragina transcribes some verses of the “Heart Sutra” with different calligraphic styles: seal script (zhuanshu), cursive script (caoshu) and regular script (kaishu). During the performance, Silvio also uses a particular writing technique in which he employs a dry brush (resembling the feibai) that he then soaks in ink and drip onto the transcribed characters, reminiscent of the dripping technique.\r The verses created by Silvio Ferragina are the same that the calligrapher had already proposed previously during the musicalligraphy performance realized with Alessandro Cerino in Hangzhou in 2016 (see the archive). The integration of shamanic music with the “Heart Sutra” creates a profound atmosphere that amplifies the spiritual and meditative qualities of both calligraphy and the text. The “Heart Sutra”, a central text in Mahayana Buddhism, conveys deep philosophical concepts regarding emptiness and the nature of reality. Sainko Namtchylak’s shamanic singing, characterized by ethereal and evocative qualities, complements the introspective nature of the sutra. The music can induce a trance-like state, encouraging both the calligrapher and the audience to connect more deeply with the meanings of the verses being transcribed. As Silvio Ferragina moves between different calligraphic style (seal script, cursive script, and regular script) each stroke can be seen as a visual manifestation of the rhythms and emotions of the music. The fluidity and expressiveness of the calligraphy reflect the improvisational elements of shamanic music, allowing for a dynamic interaction between sound and visual art.\r """@en ; write:hasChineseConcept ; write:hasMusicStyle ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image ; write:madeUsingTool wd:Q614467 . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "VR - Wandering Beyond - Calligraphy Generated by Body Data (VR书写《逍遥游》· 身体数据生成书法)"@en, "VR书写《逍遥游》· 身体数据生成书法"@zh, "VR shūxiě \"Xiāoyáo yóu” · Shēntǐ shùjù shēngchéng shūfǎ"@zh-Latn ; wdt:P175 ; wdt:P180 , , , , ; wdt:P276 ; wdt:P585 "2021-09"^^xsd:gYearMonth ; wdt:P608 ; wdt:P941 ; sch:thumbnailUrl ; write:calligrapher ; write:createsArtwork ; write:description """The digital artwork entitled "Virtual Reality Calligraphy: Wandering Beyond" was created by Wang Dongling for his retrospective exhibition, titled “From Inception: Wang Dongling 60 Years of Calligraphy (从头开始 ——王冬龄书法艺术60年)”. The artist uses a full-body motion capture system (quanshen dongzuo buzhuo xitong 全身动作捕捉系统), consisting of a motion capture suit (mo-cap suit), to create a digital work in augmented reality. This wearable device records the body movements of the person, which are converted into data by the system. In particular, Wang uses motion-capturing gloves to capture the body movement trajectory of his writing. Gao Lu 高路, Professor at the China Academy of Art, generated several videos adopted different parameters to create videos with different colors and sizes of Wang's calligraphy. The writing of this VR visual artwork is based on the first chapter of Zhuangzi, "Wandering Beyond" (Xiaoyao you 逍遥游), written in the artist's iconic Chaos Script (luanshu 乱书). In this style, lines of no more or hardly legible characters cross each other in a three-dimensional space . The final video rendering present a highly dynamic visualization of the text, conveying a strong sense of vitality and movement.\r \r Within the exhibition “From Inception: Wang Dongling 60 Years of Calligraphy", the videos showing the digital artwork "Virtual Reality Calligraphy: Wandering Beyond " form part of an installation, that also includes mirrors and the monumental calligraphy work " Wandering Beyond: I" (Yi xie "Xiaoyao you" 一写《逍遥游》，ink on paper) realized by the artist in 2003. This calligraphic work represents the artist's first large-scale calligraphic transcription of the text "Zhuangzi - Wandering Beyond", measuring 7,5 x 12,5 meters. In addition to this piece, Wang Dongling repeatedly engaged with the same text through multiple iterations, including: Wandering Beyond : II (Er xie "Xiaoyao you" 二写《 逍遥游》, ink on paper, 7,5 ×10 m, 2003); Wandering Beyond: III (San xie "Xiaoyao you" 三写《逍遥游》, ink on paper, 7,3 ×17,85 m, 2011); "Wandering Beyond" in Chaos Script (Xiaoyao you《逍遥游》, ink on paper, 3,65 x 4,32 m, 2015). \r \r """@en ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image ; write:usesArtwork ; sch:video . a wd:Q7725634 ; wdt:P1476 "Classic of Poetry (诗经)"@en, "诗经"@zh, "Shījīng"@zh-Latn ; wdt:P1480 ; wdt:P571 "-0800"^^xsd:gYear ; write:description "The \"Classic of Poetry\" (Shijing 诗经), also known as the \"Book of Odes\" or \"Book of Songs\", is the oldest existing collection of Chinese poetry. It contains 305 works composed between the 11th and 7th centuries BCE. Traditionally regarded as one of the \"Five Classics\", it has been studied and memorized by scholars in China forsover two millennia. The Classic of Poetry is also a rich source of chengyu (four-character classical idioms), which remain part of both literary and everyday language in modern Chinese. Since the Qing dynasty (1644-1912), its rhyme patterns have been analysed for the reconstruction of Old Chinese phonology. "@en ; write:hasWikidataResource . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "The Heart Sutra in Chaos Script at the Brooklyn Museum (乱书《心经》现场书写纽约布鲁克林博物馆)"@en, "乱书《心经》现场书写纽约布鲁克林博物馆"@zh, "Luàn shū “Xīnjīng” xiànchǎng shūxiě niǔyuē Bùlǔkèlín bówùguǎn"@zh-Latn ; wdt:P175 ; wdt:P180 , , ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P2047 "PT30M"^^xsd:duration ; wdt:P276 ; wdt:P585 "2015-11-07"^^xsd:date ; wdt:P608 ; wdt:P941 ; sch:thumbnailUrl ; write:calligrapher ; write:createsArtwork ; write:description """This performance by Wang Dongling took place in occasion of Asia Contemporary Art Week (ACAW) on November 7, 2015, at the Brooklyn Museum and was organized by the museum in collaboration with the INK Studio (an art gallery based in Beijing and New York). Wang Dongling writes the Heart Sutra (Xingjing 心经) , a concise and elegant articulation of the core tenets of Mahayana Buddhism in his Chaos Script (luan shu 乱书) making the characters mostly unrecognizable. The resulting amorphous and energetic chaos hovers on the brink of legibility, fully realizing the gestural and expressionistic potential of calligraphy. Spotlit at the centre of the museum’s Beaux-Arts Court, Wang Dongling worked on approximately 20 square meters of xuan paper placed on the floor. He chose a brush with a long and narrow bamboo stem, which sensitively translated his every movement. Throughout the performance, he held the brush at an angle and repeatedly let it run dry, causing its hair to split and rub against the paper surface to create tenuous traces. With impeccable timing and technical mastery, he wrote at an even pace for almost exactly 30 minutes, breaking stance after completing each character (268 in total).\r \r Wang Dongling wrote several versions of the Heart Sutra in Chaos Script in his performances, such as:\r - in 2012 on the occasion of the performance held at the OCT Contemporary Art Center of Shenzhen;\r - in 2016 on the occasion of the performance held at the British Museum in London;\r - in 2016 on the occasion of the performance held at the Vancouver Art Gallery in Canada;\r - in 2016 on the occasion of the performance held at the Auckland Art Museum in New Zealand."""@en ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image ; write:madeUsingTool wd:Q614467 . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "Zhuangzi · Wandering Beyond (庄子 · 逍遥游)"@en, "庄子 · 逍遥游"@zh, "Zhuāngzi· Xiāoyáo yóu"@zh-Latn ; wdt:P175 ; wdt:P180 ; wdt:P186 wd:Q11474, wd:Q207849 ; wdt:P2047 "PT30M"^^xsd:duration ; wdt:P276 ; wdt:P585 "2003-11"^^xsd:gYearMonth ; wdt:P608 ; wdt:P941 ; sch:thumbnailUrl ; write:calligrapher ; write:createsArtwork ; write:description """This performance took place on the occasion of the "Edge of The Earth" - Asian Contemporary Art Invitation Exhibition (“Di zhi yuan” - Yazhou dangdai yishu yaoqing zhan "地之缘" - 亚洲当代艺术邀请展") held in Hangzhou, China, in November 2003. Wang Dongling wrote in cursive script some lines belonging to the first chapter of the Zhuangzi on propylene panels with white acrylic paint. \r On the background, there is the huge calligraphy in cursive script entitled "Wandering Beyond: I" (Yi xie "Xiaoyao you" 一写《逍遥游》) realized by Wang Dongling in ink on paper in 2003. Throught this performance, the artist writes some lines of the same text on transparent panels, creating a dialogue between the two artworks, and so between calligraphy and performance art, classical and modern tools/materials, and tradition and innovation."""@en ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image ; write:madeUsingTool wd:Q614467 ; write:usesArtwork . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Corporeal Calligraphy: Edward Weston's Heart Sutra A (书体·维斯顿的心经A)"@en, "书体·维斯顿的心经A"@zh, "Shūtǐ · Wéisīdùn de Xīnjīng A"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , , , , , , , , , ; wdt:P186 , ; wdt:P2048 "20 cm" ; wdt:P2049 "25 cm" ; wdt:P462 , , ; wdt:P571 "2012"^^xsd:gYear ; wdt:P608 ; sch:thumbnailUrl ; write:description """This artwork is part of the Corporeal Calligraphy (Shuti 书体) series composed of eight calligraphies on magazine sheets presented for the first time during the exhibition "Decanter Ink, Hangzhou Cross Year 2011-2012, Wang Dongling Solo Exhibition". The artwork is a clear example of the modernists' approach to the calligraphic material (Iezzi 2014, p. 410). The support is not the traditional sheet of xuan paper, but the page of a magazine written in English with the photograph "Nude on Sand, Ocean, 1936" in black and white by Edward Weston (1886-1958). The photo presents the model Charis Wilson (1914-2009), Weston's partner at the time, naked and lying on the beach. This photograph is the background of Wang Dongling's calligraphy work. The artist distributes the characters of the Heart Sutra in the sandy background carefully following the lines of the female model's body in an attempt to integrate different cultures, represented by the Chinese calligraphy and the Western photography. Wang also attempts to conciliate the dichotomy of tradition, embodied in the Heart sutra, a text of the philosophical tradition used as calligraphic material in all eras, and modernity, expressed with the use of photos and magazine sheets. \r In 2012 Wang Dongling realized a second specific series, entitled Shuti_shu zhi ti (Shuti_Shu zhi ti 书体_书之体). This series consists of five works presenting five naked female models in five different positions, the lines of each body are associated to one specific calligraphic script (regular, semi-cursive, cursive, clerical, small seal). The parellism between script and the models' bodies is explicitely indicated by the title of the work, in which the character 'ti 体' refers both to writing scripts (shuti 书体) and to the body (shenti 身体). Shu zhi ti 书之体 is then understood as 'bodies/styles of writing'."""@en ; write:hasVisualArtworkType ; write:hasColophon true ; write:hasSeal true ; write:hasUnit , ; sch:image ; write:madeUsingTool ; write:usesArtwork . wd:Q283 rdfs:label "water" . wd:Q37681 rdfs:label "silk" . rdfs:label "sex toy" . rdfs:label "tree" . rdfs:label "Lotus Sutra (Saddharmapundarikasutra)" . rdfs:label "flute" . rdfs:label "time" . rdfs:label "gentrification" . rdfs:label "Chinese New Year" . rdfs:label "remediation" . rdfs:label "conviviality" . rdfs:label "fish" . rdfs:label "immateriality" . rdfs:label "Metropolitan Museum of Art" ; wdt:P625 "Point(-73.96333333333334 40.779444444444444)"^^geosparql:wktLiteral . rdfs:label "wind wave" . rdfs:label "community" . rdfs:label "destruction" . rdfs:label "logo" . rdfs:label "mixed media" . rdfs:label "hope" . rdfs:label "life and death" . rdfs:label "antique pink" . rdfs:label "pleasure" . rdfs:label "action painting" . rdfs:label "loneliness" . rdfs:label "National Art Museum of China" ; wdt:P625 "Point(116.40275 39.92382)"^^geosparql:wktLiteral . rdfs:label "power" . rdfs:label "power" . rdfs:label "bamboo" . rdfs:label "life" . rdfs:label "hand" . rdfs:label "fashion designer" . rdfs:label "Weihai" ; wdt:P625 "Point(122.1 37.5)"^^geosparql:wktLiteral . rdfs:label "art critic" . rdfs:label "Suzhou" ; wdt:P625 "Point(120.61944444444444 31.3)"^^geosparql:wktLiteral . rdfs:label "drought" . rdfs:label "impermanence" . rdfs:label "Zhuangzi" . rdfs:label "West Lake" ; wdt:P625 "Point(120.14083333333 30.2375)"^^geosparql:wktLiteral . rdfs:label "designer" . rdfs:label "Nüshu" . rdfs:label "dancer" . rdfs:label "vagina" . rdfs:label "Lisbon" ; wdt:P625 "Point(-9.139016 38.708042)"^^geosparql:wktLiteral . rdfs:label "abuse" . rdfs:label "guqin" . rdfs:label "reciprocity" . rdfs:label "oracle bone script" . rdfs:label "dragon" . rdfs:label "symbol" . rdfs:label "tradition" . rdfs:label "femininity" . rdfs:label "Chinese painting" . rdfs:label "Crew" . rdfs:label "graffiti panel art" . rdfs:label "oracle bone script" . rdfs:label "tag / seal" . a wd:Q17514 ; wdt:P1476 "Joy in bottle "@en ; wdt:P170 , ; wdt:P186 , ; wdt:P276 ; wdt:P462 , , , , , , , , , , ; wdt:P571 "2018-05-19"^^xsd:date ; wdt:P88 ; sch:thumbnailUrl ; write:description """This artwork, created from May 19 to 21, 2018, at the Berlin Mural Fest ‒ one of the world’s most prestigious international graffiti festivals ‒ stands as a monumental achievement by the ABS crew alongside numerous international graffiti artists. The piece shows a striking composition that blends traditional and modern elements. The lower section is dominated by intricate lettering/charactering and tags, highlighted in yellow, representing the crew's distinctive style and each member's unique contribution. Above, a fierce dragon is depicted in classical iconography: with a crocodile head, catfish-like whiskers, a mane, deer horns, and a sinuous, snake-like body. The dragon is shown spitting fire onto sea waves, from which inscriptions emerge, swirling amidst flames. Further adding to the piece's depth are various calligraphic inscriptions in Chinese characters, often accompanied by reproductions of Chinese seals bearing the names of the artists, sometimes in Latin letters. These elements infuse the artwork with cultural richness and artistic complexity, making it a standout example of contemporary graffiti. \r In addition to the long red dragon and the yellow tag pieces, this huge masterpiece is also composed of several elements (from left to right):\r 1)a red-stamped section containing 16 tag/seals, each bearing the names of the artists who contributed to this collaborative creation: Smer, Max, Seven, Jer, Way Fan, Blood Bro, Ogs, Andc, Spade, Thorn Donis, Goes, Kayo, Neon, Zeb Roc Ski, Abs, and Tpm. Each tag, written in red Latin letters, is encircled to resemble an ancient seal.\r 2) An inscription in bold characters that reads “Pofanlong 破樊笼” (The birdcage has disintegrated), accompanied by a description of the main characteristics of Chinese dragons, which are said to “summon wind and rain (hufenghuanyu 呼风唤雨) and are omnipotent (wusuobuneng 无所不能)". This inscription refers to the massive and fierce red Chinese dragon that spans the entire wall. The dragon seems to emerge from the text, “haunting” the wall with its presence.\r 3) An inscription that reads "You ming zi yuanfang lai 有明自远方来", followed by a list of the writers’ cities of origin, serving as a modern colophon for these traveling artists. Translated from Chinese, it means: "Some people come from afar: Beijing, Tongchuan, Chengdu, Yinzhou, Wuhan, Chongqing. Greetings from China." This section also includes two seals: one with the inscription Zhongguo 中国 (China) and another with hujian 互鉴 (mutual learning).\r 4) The phrase "Joy in Bottle" (the title of the work), alongside Joybo’s tag/seal.\r 5) A bottle spills water, flooding the bottom of the piece, with numerous puppets inside.\r 6) The inscription "Erlingyiba 二零一八 (2018)", marking the date of creation.\r While refining their technique, the ABS crew maintains their signature wild style, now more complex and enriched by international collaborations. The piece incorporates various wildstyle tags, distinct elements of Chinese culture (dragon, calligraphy, seals), Chinese writings and inscriptions (ranging from simple names to profound statements), and animated puppets that bring dynamism to the composition. The artwork’s creation involved a larger group of about ten writers, showcasing the crew’s ability to collaborate across cultural and national boundaries. The setting in Berlin's prestigious Mural Fest underscores the artwork’s global impact and recognition within the international graffiti scene. \r In essence, this graffiti artwork by the ABS crew at the Berlin Mural Fest exemplifies their artistic evolution and prowess in blending traditional Chinese elements with contemporary graffiti techniques. It represents a harmonious fusion of cultural heritage, individual creativity, and collaborative spirit on a global stage."""@en ; write:hasChengyu true ; write:hasChineseConcept ; write:hasChineseVisualElement , ; write:hasColophon true ; write:hasGraffitiGenre ; write:hasGraffitiStyle , , , , , ; write:hasGraffitiType , ; write:hasOtherVisualElement , , , , ; write:hasSeal true ; write:hasUnit , , , ; sch:image ; write:madeUsingTool . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P1412 ; wdt:P21 ; wdt:P2561 "Andc", "Chen Chuang"@zh-Latn ; wdt:P27 ; wdt:P361 ; wdt:P800 , , ; wdt:P856 , , , ; wdt:P937 ; write:description """ANDC, whose real name is Chen Chuang, derives his tag from the expression “And-Chen”. In 2007, he founded the ABS crew, along with Scar (also known as Smer), Seven and Noise. The crew is increasingly opening its style to the world, also thanks to its international vocation. However, its focus remains firmly on Chinese soil, and its ultimate aim is to promote and spread graffiti culture in China. According to Andc, the main intention for the future is to put “all possible energy into making graffiti an increasingly popular art form and to involve more and more young people in this activity” (interview, 2015).\r ANDC is the leader, the "social soul" of the crew and one of the co-founder of the “400ML”, the China’s first graffiti store, opened in 2012. They sold imported spray paint cans, books, graffiti-related items and their own original products, but most importantly, they created a hub for the promotion and spread of Chinese graffiti culture. \r ANDC's approach to the world of graffiti derived from American writing, in fact, his first encounter with graffiti came through two American documentary films on hip-hop culture: Wild Style (1983), which tells the story of New York’s street culture in the early 1980s, and Style Wars (1983), about a young graffiti artist from New York who used to paint underground cars in those years. After watching these two movies, Andc started painting graffiti together with a few friends, earning money from it and thus deciding to continue this rather fulfilling activity. \r From merely imitating American writing, Andc evolved to creating works in Chinese characters through which he could express its distinctive style. Examples of these early attempts are "Raising Hope" (Tuo qi xiwang 托起希望) and "The Ruthlessness of War" (Zhanzheng wuqing 战争无情) of 2009, shaped in memory of tragic events in recent Chinese history, respectively the Nanjing Massacre of 1937 (a series of atrocities perpetrated by the Japanese army against the Chinese civilian population at the beginning of the Second Sino-Japanese War) and the Sichuan earthquake of 12 May 2008, which claimed approximately seventy thousand victims. The two pieces are wild style renderings of the four characters of the title inspired by a chengyu, a common pattern with other crews (e.g. the Kwanyin Clan). The writing style is very edgy and basic, consisting of one or two fill-in colors spread evenly, a single outline, and only occasionally a hint of 3D. The result is somewhat “rigid” and reveals the embryonic state of his personal stylistic research, centered on the attempt to reshape Chinese writing by imitating American styles.\r After this first phase, however, the crew almost completely abandoned charactering in favour of the Latin alphabet and English language. Later, mainly due to the participation in the 2011-12 EU-China Hip-Hop Communication Project, the crew shifted to mostly lettering works, possibly featuring elements that plainly recall the group’s “Chineseness”, like dragons, pandas, pagodas and small calligraphic inscriptions, and certainly seeking a manifest stylistic recognisability."""@en ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:hasTag "ANDC"@en . a wd:Q215627 ; wdt:P103 , , ; wdt:P106 ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Dohak625 刀客" ; wdt:P27 ; wdt:P569 "1994-06-25"^^xsd:date ; wdt:P800 , , ; wdt:P856 ; wdt:P937 ; sch:thumbnailUrl ; write:description """Dohak625, born in 1994 and currently residing in Guangzhou, is an emerging figure in the graffiti world. He speaks Cantonese, Mandarin, and Hakka, and despite having no formal training in calligraphy, art, or aesthetics, he has developed a distinctive graffiti style. His journey into graffiti began in 2020, though he only actively engaged with the practice four years ago. \r His pseudonym, “Dohak625,” was derived from the Cantonese pronunciation of "daoke 刀客," which is "dou haak." Seeking a shorter name, they decided to abbreviate "dou haak" to "dohak." Interestingly, they later discovered that "dohak" closely resembles "Doha," the capital of Qatar, with just an added "k." Initially, they were unaware of the existence of Doha and didn't even know how to pronounce "dohak" correctly. Now, they find it amusing that it can be roughly pronounced like "Doha."\r Dohak625 commonly uses the following three tags: "Daoke 刀客" (meaning "swordsman"), "Jianshi 剣士" (another way of saying "swordsman"), and "Ziluolan 紫羅蘭/ Lan蘭" (meaning "violet"). The choice of the two tags "Daoke 刀客" and "Jianshi 剣士" reflects his admiration for Chinese martial arts novels, which often feature tragic characters with difficult fates, such as in the film The One-Armed Swordsman released in 1967. Dohak625 also has a fondness for Stephen Chow's movies, particularly From Beijing with Love, where Chow plays a meat vendor who refers to himself as a "daoke 刀客" (swordsman). They appreciate the subversive imagination and humor in this portrayal.\r The use of the tag "Ziluolan 紫羅蘭" is inspired by the love story of the late Chinese writer Zhou Shoujuan 周瘦鹃 (1895 – 1968). Despite the tragedy of Zhou's love story, Dohak625 was moved by his personal life and the way he expressed his feelings. Zhou was born in a time when marriages were arranged, and he was unable to marry the person he truly loved. Nevertheless, he did everything he could to express his love for this woman, whose English name was Violet, which in Chinese is "Ziluolan 紫羅蘭."\r In an interview (Bisceglia 2024), Dohak625 described his creative process as a “low-budget style,” deliberately avoiding expensive materials in favor of more affordable options. His graffiti-making aligns with a standard procedure: finding a spot, completing the work, and moving on. He often improvises, rarely sketching drafts before executing his work, which resonates with the anti-style trend in graffiti. This movement, which challenges traditional notions of technique, color schemes, and detail, finds echoes in Dohak625's art. \r Dohak625’s style also conform to a contemporary trend in Chinese calligraphy known as “ugly calligraphy” (choushu 丑书), which emerged in the 1980s and is characterized by disharmony, asymmetry, and inconsistency.\r In a interview (Bisceglia 2024) he describes his relationship with Chinese calligraphy as the relationship between father and son: "As a son, I am greatly influenced by my father, and this influence will likely last throughout my life. However, when the son turns 18 and steps out into the world, the time they spend together may gradually diminish, though their bond will always remain. The son will meet more and more people and continue to be shaped by these new influences." \r His creative process often involves riding his bicycle through unfamiliar cities, stopping at potential graffiti sites. This improvisational approach rejects the repetitive practices typical in graffiti circles, as Dohak625 seeks to challenge established norms with his unique blend of chaos and creativity.\r Dohak625’s work transcends the traditional boundaries of graffiti. He sees himself not merely as a graffiti writer but as an artist driven by a profound creative impulse. Unlike many graffiti artists who engage heavily in urban “bombing” – the rapid and prolific tagging of public spaces – Dohak625 prefers working in ruins and secluded locations, where he feels more freedom to express his artistic vision. Urban bombing constitutes only about 40% of his work, and although graffiti holds little commercial value in China, he remains committed to these public and wild spaces.\r The influence of traditional Chinese calligraphy is apparent in Dohak625's work, though he views his artistic evolution as something that has progressed beyond it. He critiques the way many Chinese graffiti artists incorporate traditional elements into their art without engaging with the core aspects of the medium, such as tagging or throw-ups, instead focusing on large-scale, realistic works. For Dohak625, true graffiti exists in the tension between these influences and the raw, unpolished energy of street art.\r Stylistically, Dohak625 admires GhettoSino, a fellow Chinese graffiti artist known for excelling in six key areas: quantity, location, style, creativity, skill, and content. Dohak625 holds GhettoSino in high regard for maintaining these qualities consistently over time, which he believes makes him a standout figure in the Chinese graffiti scene.\r Although Dohak625’s work aligns with aspects of the anti-style or ugly calligraphy movements, he distances himself from rigid labels. His art is less about deliberately rejecting traditional aesthetics and more about embracing imperfections that reflect the chaotic, tragic, and humorous experiences of his life. Raised in a poor family, Dohak625's art is informed by personal history, low-budget materials, and an ethos that prizes authenticity over polished perfectionism.\r As an artist, Dohak625 challenges the boundaries between beauty and decay, embodying a philosophy of anti-style that deliberately disregards conventional norms while maintaining a deep respect for the creative process. He sums up his view of artistic creation with a statement on writing: \r "I am serious about this topic. For me, being a writer is one of my ultimate goals in life. Literary creation is the highest form of creation, and writers who can produce classic literature are the most amazing creators. I love to talk, express, write, and record." (Interview with M. R. Bisceglia, 2024)\r Dohak625 is also part of the "Chinese Emotional Graffiti" movement (Zhongwen qingxu tuya 中文情绪涂鸦), which focuses on graffiti that emphasizes written text as its main element. This form of graffiti often includes slogans, short stories, poetry, quotes, social and political commentary, or personal reflections, found on various public surfaces. It aims to convey messages or statements through language, using public spaces as a platform for expressing ideas, emotions, or social commentary. In Dohak625's early artistic phase, he mainly wrote long poems—both original and quoted—sometimes creating acrostics by highlighting the first column of characters to emphasize a concept or summarize the poem's theme."""@en ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:hasTag "Dohak625"@en, "Swordsman"@en, "Violet"@en, "刀客"@zh, "剣士"@zh, "紫羅蘭"@zh, "Dāokè"@zh-Latn, """Jiànshì \r """@zh-Latn, "Zǐluólán"@zh-Latn ; sch:image . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Ode of Eight Thousand Verses: Fortune n. 1 (八千颂歌：福之一)"@en, "Ode degli ottomila versi: Fortuna n. 1"@it, "八千颂歌：福之一"@zh, "Bāqiān sònggē：Fú zhī yī"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , , , , , ; wdt:P186 , ; wdt:P2048 "155 cm (each)" ; wdt:P2049 "31 cm (each)" ; wdt:P462 , ; wdt:P571 "2017"^^xsd:gYear ; wdt:P608 , ; wdt:P941 ; sch:thumbnailUrl ; write:description """This artworks is part of the series "Ode of Eight Thousand Verses" (Baqian songge 八千颂歌). It combines two writing systems: the Chinese characters and the Sanskrit script. The Sanskrit parts in black are extracts from the Sutra of the Perfection of Wisdom in 8,000 Lines, also called Transcendental Knowledge Sutra (Prajñāpāramitā Sutra), which is a collection of Buddhist texts fundamental for the creation of Mahāyāna Buddhism. The graphs in white outlined in black are reworkings of the Chinese character Fu 福 (Good Fortune). This character represents one of the most popular auspicious symbols in China: it is often affixed to the doors of the Chinese houses or appears in paintings hanging on the walls, also reworked in a creative way. To shape the more than 20 different forms of this character used in this artwork, Luo Qi took inspiration from the very popular "Baifutu 百福图" (One hundred handwritings of the character fu), a design composed of 100 different handwritings of the character fu 福 in the style of ancient and modern seal character, expressing good wishes. This diagram is also linked to the forms of the so-called "Daoist talismanic script" (fulu 符箓 or fuwen 符文), usually reported on talismans. These forms make the character not linguistically (and immediately) recognizable, giving it magical power. The artist decided to write this character also because from 2010 it has been the source of inspiration of an important part of his artistic production focusing on various reworking of this character. Additionally, the character "fu" refers to an essential religious text of Western tradition, the Gospel, which in Chinese is called "Fuyinjing 福音经" (lit. ‘Classic of Fortunate Music’ or ‘Classic of Happy Sound’). This text is the main topic of another series created by Luo Qi in 2018 entitled "Fujing chaoben 福经抄本" (The transcription of the Gospel) inspired by European Medieval incunabula, and the second character of its title "yin 音" (sound) brings us back to music, that is one of the main themes of the whole series. \r This artwork was created in 2017 for the exhibition “Connections” (Fort Adelaide - La Citadel, Port Louis, 08-16/09), and then displayed in the exhibition "Luo Qi: Writing Music“ (Bologna University Library - Bologna, 25/03-08/04/2019), and "Sounds of Ink: Luo Qi and 30 Years of Calligraphyism" (International Museum and Library of Music - Bologna, 12/10-05/11/2023).\r The artist tries to use different linguistic signs that, juxtaposed, reiterated, mixed and outlined through expert calligraphic brushstrokes, create a visual rhythm that visually reproduces the musical rhythm of Buddhist litanies arisen from reading the transcribed sutras. The linguistic content of the work is so no longer important, but is only the means to create a sonically perceptible plot. It is made of signs that go beyond borders and unite worlds through their "visual sound". """ ; write:hasVisualArtworkType ; write:hasColophon true ; write:hasSeal false ; write:hasUnit , ; sch:image ; write:madeUsingTool . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Beer1ne 恢燼" ; wdt:P27 ; wdt:P569 "2005"^^xsd:gYear ; wdt:P800 , ; wdt:P937 , ; sch:thumbnailUrl ; write:description """Beer1ne, also known by his various tags including "beer," "beer1ne," and "Hui jin 恢烬," is a 19-year-old graffiti artist from Huizhou, Guangdong, currently residing in Guangzhou. His initial tag "beer" originated from the English initials of his previous name, "PJ." Frequently typing "PJ" on the keyboard led the Chinese input method to suggest "啤酒" (beer), prompting him to adopt this moniker. Later, he transitioned to "beer1ne," a play on "beerone," creating a distinctive version to avoid confusion with other artists.\r The tag "恢烬" carries profound significance for Beer1ne. It emerged during a period of emotional turmoil when he identified with the symbolism of "ash," representing decay and the remnants of something once vibrant. This feeling encapsulated desolation while also embodying the potential for transformation. Just as ash can settle into the earth or drift in the air, the concept signifies a cycle of rebirth. Thus, "恢烬" reflects both melancholia and an openness to change, with an element of playful interpretation on his part.\r Beer1ne is affiliated with the crew WAS, informally known as "was dead?" and is also a member of WOD CLUB, which functions more like a collective than a structured group. \r His artistic journey began around the age of 11 or 12, inspired by graffiti he encountered in anime, video games, and movies. At 15, a close friend’s social media post featuring their graffiti artwork motivated him to delve into the craft. He began learning graffiti techniques through alphabets shared by graffiti-focused public accounts on WeChat.\r Shortly thereafter, Beer1ne and his friend purchased spray paint and respirators, eagerly seeking out public spaces to create their first pieces. Their initial foray into graffiti led to a humorous adventure in a residential area, where they narrowly escaped being reported by a delivery driver. This joyful experience remains a cherished memory for him, despite his novice status at the time.\r Initially, Beer1ne favored clean and intricate wildstyle pieces. However, as repetition became uninspiring, he began to experiment with his own Chinese tag and embraced a more chaotic, rough visual approach, partly due to past struggles with clean lines. This evolution in style prompted him to explore a broader artistic direction, which he later learned leaned towards an "ignorant style" through feedback from Taiwanese writer Faso during a graffiti competition.\r While he has not read extensively, Beer1ne considers the book "STREET FONTS" (Walde 2011) a significant source of inspiration. His creative process has shifted from meticulous sketches and pre-planned color choices to a more spontaneous approach, utilizing whatever materials are at hand. His primary motivation for creating graffiti is the thrill and enjoyment it brings, viewing it as a form of public art that can address social and political themes while celebrating the rebellious act of occupying public spaces.\r Beer1ne's work remains deeply personal and self-directed, with no current engagements in commercial projects or commissions. He notes that the structure of most Chinese graffiti fonts tends to adhere to regular script (kaishu 楷书) but has previously experimented with integrating Qin Dynasty seal script (xiaozhuan 小篆) into his pieces. Although his work attracted imitation during that time, he eventually returned to simplified Chinese characters, feeling creatively exhausted by the seal script style.\r He appreciates the blending of Chinese cultural elements with graffiti, viewing it as a colorful and inclusive art form that can enrich local cultural traditions. Beer1ne believes that a "Chinese graffiti style" begins with writing in Chinese fonts while also reflecting a more Chinese aesthetic.\r Beer1ne perceives the current state of graffiti in China as relatively positive and peaceful, noting that the emphasis is often on visual presentation rather than the act of creation itself. While street bombing faces legal and moral restrictions, he observes that the Chinese scene primarily focuses on complete pieces, with less emphasis on throw-ups and handstyles. The Chinese graffiti environment is generally more formal and conservative, leaning towards street art rather than traditional graffiti, with plagiarism posing challenges for artists in developing unique styles.\r Despite these challenges, Beer1ne admires several Chinese writers, such as Saeor, and respects the work of graffiti crews like MTS, KTS, 2G, and ABS, appreciating their outstanding contributions to the scene."""@en ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:hasTag "Beer1ne"@en, "恢烬"@zh ; sch:image . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P1412 , ; wdt:P21 ; wdt:P2561 "TxT" ; wdt:P569 "1982"^^xsd:gYear ; wdt:P800 , ; wdt:P937 , , , , ; sch:thumbnailUrl ; write:description """TxT, an enigmatic graffiti writer and multifaceted artist, operates under a veil of anonymity that allows him to explore the fringes of street art while engaging in illegal writing. This examination will focus solely on his "calligraphic" works, revealing the depth and nuance of his artistic practice. A citizen of the United Kingdom, TxT is in his forties and has cultivated a diverse linguistic repertoire.\r His calligraphic education is primarily self-taught, inspired by traditional artworks that he meticulously studies and emulates. This journey intensified during the various lockdowns of 2020, but his formal study began earlier when he trained in calligraphy under Chen Yu Lian, the daughter of the renowned Chinese ink artist Chen Hong Fei.\r TxT's calligraphic creations have taken him across the globe from 2020 to 2024, with significant activities in Australia, the People’s Republic of China, Indonesia, Italy, and Germany. His preferred canvases include trains—often covering entire carriages—as well as abandoned urban spaces, where he seeks to establish a dialogue with the surrounding context. His materials of choice are acrylic paint, paint rollers, and brushes, tools through which he expresses his artistic vision.\r In his unique blend of graffiti and calligraphy, TxT employs a distinctive motif: the red tag seal. This element appears in every piece he creates, symbolizing his identity and connecting his work to a broader cultural narrative. The combination of the letters "TT" with "X" forms his signature tag, TxT. The letter "X" serves not only as a vital component of his identity but also as a semiotic device, representing a hidden identity that is not legally recognized but still holds significance. This symbolism is particularly poignant, as the "X" often signifies a mark made by those who cannot write—an identity that transcends the constraints of language and legality.\r The incorporation of the Chinese red seal further enhances the universality of TxT's work. The brush strokes that render this symbol evoke the fluidity of ink and brushwork in traditional calligraphy, bridging his artistic identity with Chinese culture. In his series titled “X,” the "X" transforms into a dynamic figure, as evidenced by the artwork “X-evolution,” where it is never static. This kinetic quality is amplified by his calligraphic approach, reinforcing the idea that art is a living, evolving dialogue rather than a mere static representation. Through these innovative practices, TxT invites viewers to engage with the intersections of identity, culture, and artistic expression.\r """@en ; write:hasCalligraphicTraining "Self-Taught"@en ; write:hasTag "Text"@en, "TxT"@en ; sch:image . a wd:Q4502142 ; wdt:P1476 "Digital No08-CH01, CH02 (数码 No08-CH01, CH02)"@en, "数码 No08-CH01, CH02"@zh, "Shùmǎ No08-CH01, CH02"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P462 , , ; wdt:P608 , , ; write:description "Digital No08-CH01, CH02 is a pair of works consisting of two standard-size, vertically orientated works (265 x 66 cm) and two miniature works (59,7 x 20.3 cm) realized by Wang Tiande in 2008. Each work consists of two layers of paper – the top layer carries imagery and words created by burn marks, which is superimposed on another layer that carries other calligraphic marks. The artist writes calligraphies onto xuan paper and then enriches the images with cigarette burns, in a meditation on the precarious relation between permanence and fleeting efflorescence, between the material and the immaterial, between tradition and contemporaneity (Kuo 2010: 58). As in the other works of the \"Digital series\", there is no discernible content: characters are intentionally devoid of specific meaning. The artist asserts that in the digital age, people are overwhelmed by a flood of information, often feeling compelled to interpret specific content, which leads on the contrary to a confusion of indistinct and fragmented information. By abandoning the normal process of reading, the artwork creates an intentional and inactive mode of communication—a purely artistic language of calligraphy. This results in a new aesthetic experience that deliberately diverges from the traditional standards of calligraphy, while the absence of content grants these works a more independent visual expression." ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; write:madeUsingTool , . a wd:Q464980 ; wdt:P10661 , ; wdt:P1476 "Ink Art and New Music Project (水墨艺术与新音乐)"@en, "水墨艺术与新音乐"@zh, "Shuǐmò yìshù yǔ xīn yīnyuè"@zh-Latn ; wdt:P276 , ; wdt:P580 "2020"^^xsd:gYear ; wdt:P582 "2022"^^xsd:gYear ; write:description """This project represents an important collaboration between the University of Hong Kong (HKU) and the M+ Museum of Hong Kong. It consists of a series of engaging activities, including lectures, mentorships, commissions, and performances realized from 2020 to 2022. This multi-phase initiative aims to foster meaningful conversations and inspire new compositions through a rich interplay of multimodality and cross-cultural exchange. By bringing together diverse perspectives and artistic practices, the project seeks to create a vibrant platform for innovation and dialogue within the arts community. \r \r This project consists of three main phases:\r 1. Phase one – started in September 2021 with four virtual lectures, conducted in a masterclass style, on composing for mixed ensembles inspired by ink art. The curator Dr. Lesley Ma 马唯中 (b. 1980) from the M+ of Hong Kong, Dr. Chen Yeung-ping from the South China Normal University, Prof. Chan Hing-yan 陳慶恩 (b. 1963) form the University of Hong Kong, and Dr. Shen Yiwen 沈逸文 from the Tianjin Juilliard School, each delivered a lecture to their mentees, the four composition students Austin Leung 梁騫仁, Samuel Mutter (b. 2001), OGA (b. 1999) and Wang Jing 王婧 (b.1992) selected from the Bard Conservatory of Music and the University of Hong Kong (HKU);\r 2. Phase two – a two-day conference titled “Ink and Sound: A Conference on Chinese Music and Visual Arts,” held at the Bard Conservatory in the USA on 9 and 10 April 2022. Inspired by the Ink Art Collection of M+ Museum, the new compositions by the selected students and their mentors were premiered by musicians of the Bard Conservatory of Music during the conference;\r 3. Phase three – a total of seven different musical compositions were created, inspired by both Chinese calligraphic and ink artworks: three commissioned compositions, created by composers of the University of Hong Kong (Chan Hing-Yan, Chen Yeung-Ping and Shen Yiwen 沈逸文, and four created by students selected from Bard Conservatory of Music and The University of Hong Kong: Austin Leung, Samuel Mutter, OGA and Wang Jing. The seven new compositions for mixed Chinese and Western instruments have then received their Asian Premiere in Hong Kong realized by the young talents of Ensemble Traversée. In that occasion, images of the select artworks which the compositions are inspired by, were digitally projected to enhance the audience’s experience with ink and sound. Many students’ composers and faculty composers were inspired by artists from Hong Kong’s so-called “New Ink Movement,” an artistic movement that emerged between the 1960s and 1980s, that revolutionized traditional ink art by integrating modern concepts and techniques, leaving a profound and lasting impact on Hong Kong’s art scene. As a British colony, periods of severed or limited ties with mainland China saw Hong Kong shift its cultural moorings toward Western Europe and North America. In this context, the artists carved out a unique trajectory that was distinct from traditional Chinese ink painting while acknowledging its roots, emphasizing individual expression over political, social, and historical dogma. This represents a very interesting starting point as regards artistic “contamination” between East and West.\r Of these seven compositions involved in the project and their respective ink artworks, only four are closely inspired by calligraphy: 1) “Beyond Form” (Xiang wai 象外), inspired by the calligraphic work of the same title by Leung Kui Ting 梁巨廷 (b. 1945); 2) “Trace” by Jing Wang, inspired by an untitled work of the Chinese artist Li Yuan-chia 李元佳 (1929-1994); 3) “Song of Ink,” a composition by Chen Yeung-ping, inspired by five calligraphies by Tong Yang-tze; and 4) “Wild Grass,” a composition by Shen Yiwen ‘10, inspired by the work “Wild Grass II” by Hung Fai 熊辉 (b.1988). """ . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "Writing Diary with Water / Water Diary (水写日记)"@en, "水写日记"@zh, "Shuǐ xiě rìjì"@zh-Latn ; wdt:P175 ; wdt:P179 ; wdt:P180 , , , , , , ; wdt:P186 wd:Q22731, wd:Q283 ; wdt:P276 , ; wdt:P585 "1995"^^xsd:gYear ; write:createsArtwork ; write:description """As part of the "Writing Diary with Water" series, in this performance of 1995 Song Dong writes his personal diary on a flat stone. Instead of using ink, the artist uses the brush dipped in water to write a sort of invisible diary. Evaporating brushstrokes are methodically painted one on the top of the other, over and over again, on the same impassive surface. The text appears momentarily before vanishing and being replaced by the next fluid characters. The artist sets aside time each day to think about life and living, and to let such thoughts dissolve through the water that flows from his brush. The contemplative nature of this process transforms it into an act of meditation. His intent as an artist is fundamentally iconoclastic: to disrupt categories, media hierarchies and bureaucratic as well as aesthetic expectations. And yet these "political" goals are achieved more often than not through works of art that are uncommonly intimate. Diaries serve a number of purposes, from keeping track of appointments to the documentation of events over time. They can be used to trigger memories or to reflect on ideas, emotions and reactions. The defining character of a diary, however, must surely be its self-confessional and innately private nature: diaries contain information relating to an individual, information that is written down rather than shared. Nevertheless with conventional diarising there is an inherent chance of disclosure; an awareness, on some level, that another person may at some time read what is initially written in secret. History is partly made of such discoveries. As Song Dong says: "You might not think about this generally but during the diary writing process consider that someone else might be reading this someday. Since considering this, I stopped writing a traditional diary" (Walsh 2012, 12-15).\r Song Dong is not prepared to take the risk. Through his invisible journal, the artist continues to engage in the process of diary-keeping, comfortable in the knowledge that his thoughts will not be revealed. His diary can never be read. It can never offer up its contents, except to the writer, through the screen of his own memory. What is written cannot be retrieved. The words literally and metaphysically disappear. Song Dong confirms that he writes in the water diary everyday. If little has happened, he will record that there is nothing much to write. If he has been travelling, he will document the journey. Song Dong's description of the way the diary evolved indicates the central and deliberate role the work plays in his life: "After a while, this stone slowly became a part of me. That means I could say anything to it and be unscrupulous. This act became a part of life and it made me more relaxed" (Ibid.).\r From this performance the only record of the entire series "Writing Diary with Water" resulted , which consists of a set of four photographs that captures four different moments of one daily performance. """@en ; write:hasPerformingArtworkType ; write:hasUnit ; write:madeUsingTool wd:Q614467 . a wd:Q184485 ; wdt:P1132 2 ; wdt:P1303 ; wdt:P1476 "The Music of Ink at the British Museum - Cursive Writing Poetry (草书歌行)"@en, "草书歌行"@zh, "Cǎoshū gē xíng"@zh-Latn ; wdt:P175 , ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P276 ; wdt:P585 "2005-06-18"^^xsd:date ; wdt:P608 ; wdt:P941 , , ; write:calligrapher ; write:createsArtwork ; write:description """On June 18, 2005, Zeng Laide and Rohan de Saram (1939-2024) participated in the international event called “The Music of Ink”, a completely experimental day held at the British Museum in London. Zeng Laide and Rohan de Saram met for the first time on the Tuesday before the event, June 14. They decided to perform a musicalligraphy piece, with Rohan de Saram playing the cello and Zeng Laide executing calligraphy. The performative combination of these two artists was entirely based on body language, as Rohan did not speak Chinese and Zeng did not speak English. \r Rohan de Saram chooses to include Bach in his performance because he sees a deep connection between calligraphy and Bach’s music. He recognizes that calligraphy is clearly present in musical scores, which often reflect narrative and visual events, as in the case of Bach’s works. The structure and artistry of Baroque music, along with the graphic representation of notes, evoke the idea of “painting” with music, a concept that was common among musicians of that era. Furthermore, Bach represents an important reference point in the history of Western music, and his ability to combine complexity and beauty resonates with Zeng Laide’s intent to express aesthetic experiences through calligraphy. Thus, the choice of Bach serves to establish a link between tradition and innovation, between classical music and contemporary artistic forms. As Rohan explained:\r "After Bach, there was very little written for the solo cello, especially in the nineteenth century, when composers were not really interested in unaccompanied string instruments. Then, in the twentieth century, there was the long piece for the solo cello by Kodály. In the past, whenever I have played this piece, especially the central slow movement, I have been transported to East Asian music, or perhaps I should say, to East Asian melody […]. Our rehearsals have been very shorts, and when I played various movements of Bach to see which Zeng Laide preferred, he chose the slower movements. So I shall start as he wishes with some of the slow movements, two sarabands of Bach, and then I shall do the last movement of Kodály and then go into the slow movement then I just mentioned" (Wang 2012, pp. 67-68).\r Zeng Laide decides to transcribe a famous poem from the Tang dynasty written by Li Bai (701 – 762), titled “Cursive writing poetry” (Cao shu ge xing 草书歌行). The poem, with its romantic tone and unique imagination, vividly recreates a scene of the calligrapher Huaisu drunkenly and passionately waving his brush, writing in a wild and exuberant manner. It carefully and wonderfully portrays Huaisu's bold and expressive personality traits. The entire poem vividly captures Huaisu’s free-spirited, passionate, and exuberant character. It holds significant reference value for later studies on Huaisu’s cursive script art. In this poem, Li Bai describes calligraphy as music. As Zeng Laide explained:\r "In Chinese, the title of the poem is Cao shu ge xing. 'Ge xing' means music; ‘cao shu’ refers to a type of calligraphy, specifically the grass script style. Thus, the poem and the calligraphy bring together the classical, the contemporary, and the creative" (ibid., pp. 69-70).\r """@en ; write:hasMusicStyle ; write:hasPerformingArtworkType ; write:hasUnit ; write:madeUsingTool wd:Q614467 . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P1412 ; wdt:P21 ; wdt:P2561 "Grace Chen Liang 陈亮" ; wdt:P27 ; wdt:P453 ; wdt:P569 "1974"^^xsd:gYear ; wdt:P800 , , , ; wdt:P937 ; write:description """Grace Chen Liang was born in China in 1974. She has been an avid learner of calligraphy since a young age. Her solid foundation in calligraphy cultivated mostly from the inspiration of top Tang dynasty calligrapher Yan Zhenqing and Liu Gongquan’s regular script. Through her three decades of practice, she has established her own unique style in running and cursive scripts. She is virtuosically ambidextrous, each hand a master of a different distinct writing style. Her right hand displays power and freedom, while her left hand exudes a delicate elegance that is both uplifting and ethereal. Her calligraphy artworks have been selected by Singapore and Overseas’ Grand Exhibitions, and also collected by several private and public organizations.\r Grace Chen Liang is a Committee Member (General Secretary) of Federation of Art Societies (Singapore), Committee Member of Singapore Art Society, Committee Member of The Society of Chinese Artists (Singapore), Chair, Working Committee of “Blossom and Flourish” Singapore National Women Artists Grand Art Exhibition 2020.""" ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:isCalligrapherOf . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Zhuangzi – On the Equality of Things / Tangerine (庄子– 齐物 / 桔)"@en, "庄子–齐物 /桔"@zh, "Zhuāngzǐ– qíwù/Jú"@zh-Latn ; wdt:P170 ; wdt:P179 , ; wdt:P180 , , , , , , ; wdt:P186 , , ; wdt:P2048 "51 cm" ; wdt:P2049 "65 cm" ; wdt:P462 , , ; wdt:P571 "2013"^^xsd:gYear ; sch:thumbnailUrl ; write:description """“Zhuangzi – On the Equality of Things/Tangerine” is composed of two parts: 1) the photograph of a tangerine in a state of decomposition that is overwritten with a calligraphic inscription (2010-2015), and 2) a calligraphic work where the different concentration of the ink in written characters suggests the form of the tangerine in the original photograph (2013). In this second part of the work, all traces of photography disappear and are replaced by small characters tightly arranged in vertical columns and in cursive style. The opposition that arises from observing first the photographic work and then the calligraphic work makes clearer the sense of materiality and immateriality of matter recalled by the artist in the "Material Immaterial" series. As the title suggests, Chu Chu writes parts of the chapter from the "Zhuangzi" entitled “Discourse on the Equality of All Things” (Qiwulun 齐物论). This text, through parables and allegories, explains how reality is dense with relativism and the human tendency to separate the world into categories (e.g., right vs. wrong). Through this text, Chu Chu reflects on the way we observe things and approach them.\r This work is part of the series “Material Immaterial - Fruit” (2010-2015) that in 2012 with the addition of calligraphy evolved into another sub-series titled "Equality of things - Fruit".""" ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool ; write:vectorisedOrDigitised true . a wd:Q4502142 ; wdt:P1071 ; wdt:P127 ; wdt:P1476 "Synthesized Words (畅神）"@en, "畅神"@zh, "Chàng shén"@zh-Latn ; wdt:P170 ; wdt:P179 , ; wdt:P180 , , ; wdt:P186 , ; wdt:P2048 "175.3 cm" ; wdt:P2049 "275.6 cm" ; wdt:P462 , , ; wdt:P571 "1985"^^xsd:gYear ; wdt:P608 ; sch:thumbnailUrl ; write:description """This artwork was originally part of a series entitled "Yishi de wangchao 遗失的王朝" (The Mythos of Lost Dynasties Series, 1983-1998). In this series, Gu Wenda invents a new form of writing, based on the ancient seal-script characters, but these new characters are meaningless. Exploring the loss of meaning of writing, Gu Wenda reduces writing to a mere sign.\r "Synthetized Words" was exhibited for the first time in 1985 during the "Group Exhibition of the New Traditional Painting of Hubei Province" (Hubei guohua xinzuo yaoqing zhan 湖北国华新作请展), held at the Wushang Exhibition Center in the city of Wushang. On that occasion, the work was presented as part of a series entitled "Mythos of Lost Dynasties - Tranquility Comes from Meditation" (Yishi de wangchao - Jingguan de shijie 遗失的王朝 - 静观的世界 ) composed of five oversize hanging scrolls. These five artworks then have become part of the series entitled "Pseudo-characters Series" (Xugou wenzi xilie 虚构文字系列). The five artworks of the series feature characters hovering over or within surreal "splashed ink" landscapes or cloudscapes. This artworkk represent the center scroll of the series and it is composed of a single invented ideograph suspended over a landscape. The full ideograph is unreadable, but the three cursive-script components (yi 易, shen 申, shi 示 ) may be interpreted as the character for “unobstructed” (chang 畅 ) and that for “spirit” (shen 神). While Gu’s overriding purpose may have been to subvert the semantic function of calligraphy, his creation of a “new” symbol embodying the notion of an unfettered spirit is a powerful emblem of his wish to escape cultural stereotypes.\r The arrangement of this work with one invented character suspended over a landscape established the pattern for most Gu Wenda's later works in the "Mythos of Lost Dynasties Series", such as "Form A: Flying Pseudo-Characters in Landscape" (1996-1997, total of 9 works), "Form D: Flying Pseudo-Seal Scripture in Landscape (1996-97, total of 9 works), "Form E: Flying Pseudo-Seal Script above Landscape" (1997-1998, total of 11 works), and "Form G: Flying Pseudo-Running-Standard Script in Clouds" (since 1998, total of 16 works). In the first of this series, there is an artwork very similar to "Synthesized Words" entitled "#A-2 Free Expression". \r \r """@en ; write:hasVisualArtworkType , ; write:hasColophon false ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q184485 ; wdt:P1132 2 ; wdt:P1476 "Zhang Qiang's Traceology Report A/X7 (Zhang Kaini) Model [张强踪迹学报告 A/X7 (张凯妮) 模型]"@en, "张强踪迹学报告 A/X7 (张凯妮) 模型"@zh, "Zhāng Qiáng zōngjī xué bàogào A/X7 (Zhāng Kǎinī) móxíng"@zh-Latn ; wdt:P175 , ; wdt:P179 ; wdt:P180 , , , , , ; wdt:P186 wd:Q11472, wd:Q127418, wd:Q23852, wd:Q37681 ; wdt:P2047 "PT6H"^^xsd:duration ; wdt:P276 ; wdt:P585 "2016-10-08"^^xsd:date ; sch:thumbnailUrl ; write:calligrapher ; write:createsArtwork ; write:description """In this performance, Zhang Qiang collaborates with a woman named Zhang Kaini. The performance takes place in Zhang Qiang's studio of Huxi University Town (Shapingba District, Chongqing, called Chongqing University Huxi Campus).\r The performance consists of eight different stages:\r 1. Free and in-frame interactive writing (Ziyou yu kuangjia nei hudong shuxie 自由与框架内互动书写) where the act of writing takes place "within a frame" as established by Zhang Kaini's will. This wooden object, which looks like a frame, is the wooden structure of Zhang Qiang's collaboration with the Belgian artist Lia Wei used during the "Biface Graphy" (shuangmian shufa 双面书法). When the 100-metre roll is hung overhead, the finished section flows out from underneath, like a "long stream". Zhang Kaini and Zhang Qiang are standing within this "abandoned frame" and the performative act takes place within a confined space.\r 2. The scenery on the drawing table (Hua an shang de fengguang 画案上的风光)\r Zhang Qiang joined two boxes of equal height and similar width to make a large horizontal long drawing table, which he usually uses to practice traditional calligraphy and Chinese painting. On this table there are the basic furnishings of a traditional Chinese literary studio, with brass and wooden paperweights, crystal brush holders, ink beds, water pots, brush sinks, printing beds, seals, clay for printing, etc. There are also brushes of various types, and paper and silk of various colors. The studio doors are higher than the roof, like the size of a church-like western door (which is rarely seen in Chinese home decoration). When the two tall heavy doors are closed, a sense of mystery is created and when the two meters thick doors are half open, a special scene is created. When Zhang Qiang lights the sandalwood incense, the fragrance begins to permeate the room like the "lines of a calligraphic cursive". Kaini lays back on the table and begins to shift her movements as the sandalwood incense dances around her. This time, in a psychedelic atmosphere, the body begins to express its own language. In this way, a traditional calligraphic and classical style of painting becomes a platform for body language performance and expression. Inside and outside the tall, heavy doors, the dreamlike expressions of Kaini's performance become a theatrical ritual: Kaini's body movement launches classical Chinese painting and calligraphy into a labyrinth of amusement.\r 3. The meaning released by the "Study of ancient inscriptions" ("Jinshi xue" de yiwei shifang “金石学”的意味释放)\r Stone inscriptions were widely widespread in ancient China and were made on wood, metal, stone and bamboo. The content of these inscriptions has generally a historical and artistic value. Therefore, the surface of the supports of these inscriptions are full of natural, temporal and man-made "wounds", revealing for example traces of natural erosion (such as on cliffs). Zhang Qiang calls this phenomenon the "aesthetic of wounds" (Shangkou meixue 伤口美学). What is important is the meaning behind the "wounds" and the role of their time dimension. Hence, rather than an "aesthetic of wounds", it could also be termed as an "aesthetic of the time dimension'' (Shijian weidu di meixue 时间维度的美学). This is because the "wounds" of these natural supports were formed in different time and specific spaces. \r In this phase of the performance, Zhang Kaini, originally from Shandong, interacts with three inscriptions of two of the most important calligraphers of Shandong: Zheng Daozhao 郑道昭 (? - 515)and the monk An Daoyi 安道壹 (?-580). In doing this, two different time dimensions come into contact: the past traces come back to life in a present performing action. The smiling silhouettes of Zhang Kaini, her ecstatic smiles, movements and facial expressions toward the inscriptions (the traces of the past) joined with the brushstrokes on her body and clothes (the traces of the present).\r 4. Framing body and strokes (Shenti kuangjia yu bifeng 身体框架与笔锋)\r After the interactive writing in the wooden frame of the "Biface Graphy" (phase 1), in this phase of the performance Zhang Kaini began to conduct wanton action in this narrow space brandishing two huge brushes.\r 5. Performative writing, Traces of Desire and Body Vocabulary (Xingwei shuxie, yuwang zongji yu shenti cishu 行为书写、欲望踪迹与身体辞书)\r During this fase, Zhang Kaini draws on a sheet of paper placed on the floor with two huge brushes and her body. While she writes consciously with her body on one side of the sheet, her hands unconsciously write on the other side of the sheet with the brushes. The sultry red high heels that Zhang Kaini is wearing have the same effect as seals in calligraphy, insinuating themselves firmly into various places. \r In Zhang Qiang's Traceology Report, and also in this performance, the first thing that is subverted is the basic relationship between the subject and the object of representation (writing), where the subject writes and the paper anxiously awaits the writing. The writer who is also the performer, with her back to the object, abandons the expression of her will to write, while her body freely moves during the writing process, breaking the traditional writing relationship.\r 6. Traces on face (Wenyang 纹样 )\r In Chinese, the wen character "文" (wen) is interchangeable with "纹" (wen) and it indicates the action of "leaving a trace" by humans. Similarly, the word "样" not only has the meaning of "style/model/shape", but also indicates the aspect of a person's face. Zhang Qiang therefore uses the expression "纹样" for this part of the performance, because he leaves traces (wen 纹) on the face of a person (yang 样) who is Zhang Kaini. The ink, scattered on the face in a chaotic manner, interferes with the facial features, giving new expression to the subject through the performance action. \r 7. Paper shifts writing (Zhi mian nuoyi shuxie 纸面挪移书写)\r In this phase, Zhang Qiang interacts with Zhang Kaini in the same way of the "Zhang Qiang Trace Report A/B Model" (1990 - 2000, see the "Series of Creative Works" in the archive). \r 8. Free styling/free form (Ziyou zaoxing 自由造型)\r The so-called "free form" consists of arbitrary and random movements. This phase is based on accidental stimulations of a non-specific situation. The surprise of movement therefore depends entirely on inner strength, as well as on the coordination of imagination and movement. The selected backgrounds (e.g. a Persian carpet, a vase of Aloe plant, a black cloth, etc.) reveal an unconscious choice between the "performing action" (xingwei dongzuo 行为动作) and the "selected shooting" (xuanze paishe 选择拍摄). For example, the movement of the Persian carpet motif in the background of some photographs of the performance easily recalls the notion of "free will" (ziyou yizhi 自由意志) and suggests that between the cultural psychological structure of the background motifs and the "individual freedom" (geti ziyou 个体自由) of the brush and ink, there is also the body of the performer as a mediating expression of the connection between the two. \r \r This performance is part of the "A/X series" (A/X 模型). This series consists of about thirteen "free performances" (ziyou xingwei “自由行为”) from 2015 to 2017. These performances place greater emphasis on the concepts and initiatives of the counterpart (Zhang Kaini, for example, pays close attention to express her thoughts during the performance). The A/X series is part of the A/C series but it is more experimental and "free", because puts more emphasis on the initiative of female collaborators.\r A similar performance entitled: "Zhang Qiang Traceology Report A/X8 (South America) [张强踪迹学报告A/X8（南美)] took place at Sanya Bay Beach (in the south end of Hainan) on January 10, 2017. Photographs of the scene taken by professional photographers named Yan Lu and Zheng Jian clearly show how these South American dancers, under Chinese ink and brushstrokes, are able to reveal their sublime body language. """@en ; write:hasChineseConcept , , ; write:hasChineseVisualElement , , ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image ; write:madeUsingTool wd:Q614467 ; write:usesArtwork , . a wd:Q184485 ; wdt:P1132 2 ; wdt:P1476 "Zhang Qiang's Traceology Report A/B 94 (Cao Rui) Model [张强踪迹学报告 A/B 94 (曹蕊) 模型]"@en, "张强踪迹学报告 A/B 94 (曹蕊) 模型"@zh, "Zhāng Qiáng zōngjī xué bàogào A/B 94 (Cáo Ruǐ) móxíng"@zh-Latn ; wdt:P175 , ; wdt:P179 ; wdt:P180 , , , , , , , ; wdt:P186 wd:Q11472, wd:Q127418, wd:Q23852 ; wdt:P2047 "PT30M"^^xsd:duration ; wdt:P276 ; wdt:P585 "2000-05-01"^^xsd:date ; sch:thumbnailUrl ; write:calligrapher ; write:createsArtwork ; write:description """In this performance, Zhang Qiang introduces the new concept of “conceptual clothing” (guannian fuzhuang 观念服装) (Zhang 2017: 61-62). This is the first time that Zhang Qiang uses dresses for his "Traceology performances". For this performance, Zhang Qiang collaborates with Zhao Jingyu 赵泾羽, a Beijing fashion designer specializing in western styles who makes dresses for him out of white calligraphy paper. Her creations are put on by the professional model Cao Rui 曹蕊, who assists Zhang Qiang in his art by allowing him to paint on the paper dresses she is wearing. \r A fundamental condition that emerges here is the "dressing up women's self" (nuxing ziwo de zhuang ban 女性自我的妆扮) (Ibid.). Cao Rui is no longer a passive model; rather, the collaboration unfolds naturally, grounded in a principle of parallelism. In the performance, the female performer, Cao Rui, wears garments designed by the female fashion designer Zhao Jingyu. Together, they form the female counterpart—a creative partnership in which both creation and performance coexist. The male counterpart, Zhang Qiang, through his performative writing, likewise embodies both roles simultaneously. As a result, the entire performance organically develops into a compelling exploration of “gender difference” (xingbie chayi 性别差异) (Ibid.)."""@en ; write:hasChineseConcept ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image ; write:madeUsingTool wd:Q614467 . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Biface Graphy - Ink Action in Venice (双面书法 - 威尼斯行墨) - Artwork"@en, "双面书法 - 威尼斯行墨"@zh, "Shuāng miàn shūfǎ - Wēinísī xíng mò"@zh-Latn ; wdt:P170 , , ; wdt:P179 ; wdt:P180 , , , ; wdt:P186 , ; wdt:P2048 "50 m" ; wdt:P462 , ; wdt:P571 "2018-04"^^xsd:gYearMonth ; sch:thumbnailUrl ; write:derivesFrom ; write:description "This artwork is the result of the performance \"Biface Graphy - Ink Action in Venice (双面书法 - 威尼斯行墨)\" realized by Zhang Qiang and Lia Wei. The artwork consists of a fifty meters long scroll, which, at the end of the performance, is hung in the center of the room."@en ; write:hasVisualArtworkType , , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; sch:image ; write:madeUsingTool . a wd:Q17514 ; wdt:P1476 "Landscape Painting PIC (山水PIC)"@en, "山水 PIC"@zh, "Shānshuǐ PIC"@zh-Latn ; wdt:P170 , , , ; wdt:P180 , , , , ; wdt:P186 , ; wdt:P2048 "2 m" ; wdt:P2049 "42 m" ; wdt:P276 ; wdt:P462 , , , , ; wdt:P571 "2007-11-11"^^xsd:date ; wdt:P6375 "Beijing International Exhibition Hall"@en ; wdt:P941 , , , ; sch:thumbnailUrl ; write:description """"Landscape Painting PIC (Shanshui 山水PIC)" is one of the most important Kwanyin Clan's masterpieces. It can be described as a Chinese landscape painting in the form of contemporary graffiti because it perfectly links Euro-American graffiti culture to Chinese traditional art, mixing traditional and modern elements. \r This enormous graffiti artwork measuring 42 meters in length and about 2 meters in height and it was created during the “China’s First Graffiti Exhibition” (Zhongguo shoujie tuya meili yishuzhan 中国首届涂鸦魅力艺术展) held at the Beijing International Exhibition Hall Square from 8th to 11th November 2007. Shanshui PIC is a collective work: all members of the crew were involved in this work, and it took five days to finish it. The landscape scenery in the background was painted by VIGA, NAT(U)O, YUMI, JOEY, and CTN; the long calligraphy on the upper left by EricTin; and the lettering pieces nested in the mountains (from left to right) by YUMI, EricTin, APART (a.k.a. ZXZ), QUAN, SCAR, JER, and VIGA. \r Regarding the title of the work, it is worth noting that the expression “shanshui 山水”, which translates as “landscape painting”, consists of two distinct characters: shan 山, meaning “mountain”, and shui 水, meaning “water”. In Chinese landscape paintings, mountains and rivers are essential elements as they represent the backbone of the entire composition. PIC instead is an abbreviation for piece, but is also easily confused with “picture” (image, drawing). \r As the title suggests, in this work, the crew took inspiration from the Chinese traditional landscape paintings, in particular those from the Song Dynasty (960-1279), such as “Travelers Among Mountains and Streams” (Xi shan xing lü tu 溪山行旅图), “A Thousand Li of Rivers and Mountains” (Qianli Jiangshan tu 千里江山图), and “Dwelling in the Mountains” (Shanju tu 山居图). The whole composition, in fact, is characterized by typical elements and arrangement of this kind of painting: mountains in the background and a long river in the foreground (youshanyoushui 有山有水), a thick mist surrounding the mountains, a lush vegetation (trees and bushes) on its banks, clusters of huts in the valleys, and fishing boats on the river waves. The layout of the piece is also reminiscent of the handscroll, and the colors (black, gray and white/ochre) recall those of monochrome ink painting, the highest form of Chinese painting, which only involves the use of black ink in all its nuances, and the natural color of the paper roll to render the water of streams, mist and clouds, creating works with a strong expressive power. \r The “spray-painting” technique used here by the Kwanyin Clan indeed mirrors the “cunfa” 皴法 (wrinkle method), a Chinese ink painting technique normally used for the surface of rocks and mountain reliefs. The five steps that characterize “cunfa” technique are based on particular brush strokes: 1) “outline” (gou 勾); 2) “texture” (cun 皴), e.g., the veins created by the brush within the outline to “wrinkle” the stones; 3) “rub” (ca 擦), which consist of spreading ink with a dry brush to accen tuate the rough texture of rock surfaces, logs and mountain slopes; 4) “render” (ran 染), e.g., applying colour to the landscape with light ink; 5) “dot” (dian 点), e.g., the tracing of dots to represent the vegetation in the background and the musk on the trees. While using spray cans instead of brushes, the Kwanyin Clan adopts a similar methodology in this work, where it: 1) transfers the sketch outlines to the panel (gou); 2) fills in the outlines with different colours (cun); 3) uses different caps to vary thicknesses and effects (ca); 4) draws final outlines (after filling in, to further define the lettering) (ran); 5) adds dripping and “dotting” effects to the piece (dian). \r The method used to give depth to the piece is also taken from the classical tradition: this is the “three distances” (sanyuan 三元) methodology, devised by the famous Song dynasty painter Guo Xi (1020-1090) to create the illusion of depth in Chinese landscape painting. This illusionary effect (of space and distance) has been recreated through the skillful use of spray cans and caps and by particular painting techniques, like for example cutting lines and “fade” (blended) colors. \r The presence of two calligraphies (one in the middle and one on the upper left) is also another reference to traditional landscape painting that is always embellished by calligraphic inscriptions. The first inscription in the center of the scroll is written in “big characters” (dazi 大字) and in “regular script” (kaishu 楷书), while the second one is composed of 45 columns of Chinese characters written in “cursive script” (caoshu 草书). The first calligraphy is placed at the center of the work and consists of two macro-characters Guan Yin 觀音, the name of the crew. As per traditional calligraphy, the characters are written vertically and the variation in the thickness of the strokes determined by the different brush pressure applied on the paper is here achieved through the skillful use of spray paint and is a contemporary expedient to create the illusion of being in front of a classical calligraphy written with the ink brush. What is not traditional is the presence of the names of the crew members, written horizontally and in Latin letters at the bottom: on the left, Quan, EricTin, Yumi, Apart, Jer, Nato, Scar and, on the right, Joey, Keno, Pluto, Viga, Ctn, Kwanyin. The simultaneous use of Latin letters and Chinese characters is a recurring motif in the Kwanyin Clan works and embodies the blend of elements from China (vertically written characters) and the West (horizontally written Latin letters), both traditional (use of calligraphy) and modern (tags of the crew members). \r In the second calligraphy, the variation of the width of the strokes, the illegibility of the characters written in a highly stenographic cursive style, in which the strokes of the characters are merged sometimes, impairing their recognizability, and the reading direction (from right to left) follow the traditional calligraphic manner, while the widespread “dripping” effect underlines the graffiti taste. According to EricTin’s statement (interview 2016), the content of the calligraphy was inspired by a poem by Teng Zijing (990-1047), a famous Song dynasty poet, entitled “Immortal at the River” (Lin jiang xian 临 江仙). In the poem, Teng Zijing describes the enchanting landscape surrounding Dongting Lake (Hunan Province) on a foggy autumn morning and evokes a deep melancholy atmosphere, recalling the ancient legend of the gods of the Xiang River (E Huang and Nü Ying), the two wives of the mythical emperor Shun, died of grief at the death of their husband. Legend has it that the emperor Shun (2294-2194 BC) travelled to a village near Shunyuan Peak (in the Jiuling mountains in Hunan) to fight a dangerous snake and set the village free. Unfortunately, the snake bit him to death near the Xiang River. His two wives, E Huang and Nü Ying, daughters of the first emperor Yao, set out to find their husband. When they arrived where he had been killed, being unable to find his body, they were consumed by grief: dying, they turned into two mountain peaks (Ehuang Peak and Nüying Peak). For this reason, the two women have been remembered ever since as “The Ladies of the Xiang” or “The Gods of the Xiang River”. Teng Zijing’s poem referring to this episode reads as follows: \r \r Lake water embraces the sky, \r Glows brightly in crystal autumn. \r Jun mount is a piece of paradise \r And a mist from the Yun and Meng Marshes \r Has beleaguered the city of Yueyang. \r Xiang River Goddesses play the lute \r Ancient memories sad hearts lacerate \r Orchid’s whispering delicately scented \r No one can be found whence the melodies ended \r On upper river verdant peaks silently stand. \r \r The choice of Teng Zijing’s poem was determined by a specific purpose. The Kwanyin Clan want to write a poem able to communicate the feelings of loneliness and sadness following a joyful reunion and at the same time able to evoke the landscape scenery painted in the background of their artwork. Teng Zijing’s poem best achieves both these goals, even if the themes of loneliness, melancholy, and nature description are in common with all the listed poems. Because of this similarity, here the quotations’ mechanism is particularly suitable for the crew’s intentions because it refers to hypertexts that share the basic themes of the source text, but amplifying their possible meanings. According to EricTin (interview 2016), in fact, the main function of Teng Zijing’s poem is to describe the content of their artwork and at the same time to express not only the sense of happiness experienced in the encounter with a graffiti work, but also the feelings of loneliness and sadness following this encounter. EricTin explains that this encounter usually ‘lasts very briefly’ (tan hua yi xian 昙花一现) because of the ephemeral and localized status of any graffiti piece. Very few people can see their originals and, at the end, only some photos stored in a computer remain as their records (interview with EricTin 2016). So the joy of the meeting is replaced with the pain of the parting and the melancholy of the oblivion, as all the ‘quoted’ poems have already testified. \r The use of a “poem” (shi 诗) as the content of a “calligraphy” (shu 书) to enhance the depiction of a “painting” (hua 画) suggests the so-called “three perfections” (san jue 三绝): the indissoluble artistic trinity of poetry, calligraphy and painting (shi shu hua 诗书画) that every literate and erudite person had to be able to practice and master in imperial China and that was often employed within the same artwork, making it a true masterpiece. In this work, in fact, the binomial between poetry and painting was realized by Teng Zijing’s verses that are a vivid representation of the scenery and by the landscape painting that can be described as being “poem-like” (shiyibande 诗一般的); the binomial between calligraphic technique and literally content has been restated by the use of “cursive script”: its fastness embodies the fleeting nature of the joy of the encounter described in Teng Zijing’s poem. The binomial between calligraphy and painting is realized by the use of the same artistic instrument: traditionally it was the brush, here is the spray can that is employed to shape both calligraphy and painting producing similar effects. Crossing these three binomials, Shanshui PIC is a worthy example of the perfect triangulation of the “three perfections” in a contemporary graffiti artwork. \r However, in addition to all these Chinese traditional references, there are also two important and innovative elements that conform to graffiti conventions and transform this work into a beautiful ‘street scenery’ of contemporary times. These elements are: i) the enormous live motion figure of a graffiti writer portrayed in three different poses between the two calligraphies, and ii) the large tags of the six members of the crew (Yumi, EricTin, Quan, Scar, Jer, Viga), which stand out among the mountains and have been transcribed through an accentuated use of 3D style and wildstyle. The first element (the graffiti writer in the left section) is the most important figurative element of this graffiti work. This figure represents an alter ego of all the members of the crew. In fact: he is wearing hip-hop urban clothing (a pair of large pants, big hoodie, cap, and sneakers); he holds a spray can in his right hand, which represents his “artistic weapon”; and his movements resemble those of a b-boy (break-dancer). He is the connection between the entire piece and American hip-hop culture, of which graffiti is an important part. At the same time, he can be compared to a modern-day calligrapher, who, instead of “dancing with the brush while the traces of ink record his movement” (Qiu Zhijie at work 2008), dances with his spray can, while the paint records his action on a hall of fame. The depiction of this character has a multiple function: i) it underlines the strict relationship between graffiti and hip-hop culture in China, and consequently interconnects the Chinese graffiti movement with all the other graffiti movements that are characterized by the same strict relationship (first of all the American one) all over the world. ii) Thanks to the live motion and the b-boy features, the figure of the graffiti writer can be compared to a ‘calligrapher’ of contemporary times. The b-boy painted in this work is ‘dancing’ with a spray can while the traces of its spray painting record his movements on a graffiti wall. iii) Opposite to traditional canons, however, the dynamics of his movements is also used to contrast the static nature of the classical landscape painting in the background in order to capture (and reproduce) the contrastive speed of life in modern times. iv) The size of the character, extremely big if compared to the rest of the work, is also an expedient to mark the difference between graffiti and classical landscape paintings. According to Chinese classical standards, and in particular to Northern Song style, in fact, the presence of human actors (such as scholars admiring the beauty of nature, travelers in the middle of a journey, and farmers and fishermen engaging in everyday labor), even if is an integral component of the whole composition (because nature was conceived to be a place of wonder in its own right and a space where human beings live, work, and seek spiritual learning and regeneration), it is diminutive in its scale, because Chinese philosophy stresses how the human presence is minor in the vastness of the cosmos. v) The big size of the human actor contrasts not only with the classical standards but also with the canons of contemporary Chinese landscape paintings. In contemporary Chinese landscape paintings, in fact, there is usually no place of human presence because of the anti-humanistic nature of Chinese recent urban development. In this graffiti work, the choice of depicting an overstated human figure dressed as a graffiti writer is a way to highlight the main aim of the crew (and of graffiti culture in general), that is a re-appropriation of the urban spaces by the writers themselves, presenting themselves as "modern graffiti painters". In Landscape Painting PIC, the Kwanyin Clan demonstrates the ability to use Euro-American graffiti styles and techniques as well as the unprecedented capability to adapt Chinese traditional forms and classical aesthetics to contemporary graffiti, combining the aesthetics of traditional landscape painting and the artistic taste of contemporary graffiti in a perfect fusion of literati tradition and modern graffiti mood."""@en ; write:hasChengyu false ; write:hasChineseConcept , ; write:hasChineseVisualElement , , , , , ; write:hasColophon true ; write:hasGraffitiGenre , ; write:hasGraffitiStyle , , , , , ; write:hasGraffitiType , , ; write:hasOtherVisualElement , , , ; write:hasSeal false ; write:hasUnit , ; sch:image ; write:madeUsingTool . a wd:Q7725310 ; wdt:P1071 , ; wdt:P1476 "Zhang Qiang's Traceology Report A/C Model (张强踪迹学报告 A/C 模型)"@en, "张强踪迹学报告 A/C 模型"@zh, "Zhāng Qiáng zōngjì xué bàogào A/C móxíng"@zh-Latn ; wdt:P170 ; wdt:P580 "2002"^^xsd:gYear ; wdt:P582 "2018"^^xsd:gYear ; sch:thumbnailUrl ; write:description """The series begins in 2002 and ends in 2018. Zhang Qiang realizes collaborative performances of "Action Writing" (xingwei shuxie 行为书写). The artist experiments performances with both female artists' naked bodies and/or clothes made by fashion designers. In the second case, the female counterparts decide the design and material of the clothes they will wear. Very often the clothes are made with a type of traditional silk called juan 绢, as a reference to the ancients: Chinese paintings before the Yuan dynasty, in fact, were painted on silk.\r This series has three main features: \r 1. During the performance, Zhang Qiang does not look at the counterpart's body, so the female counterpart has only the lens of the camera in front of her body. The artist's hand is in constant motion and holds a brush dipped in ink. The female counterpart constantly feels the existence of the "other" from the writing on her body through the brush. At the same time, since there is no direct gaze scrutinizing her body, she can ignore or even forget the existence of the "other" at any moment. During this process, approaching or avoiding the body will lead to distinct and unexpected movements.\r 2. The places of these performances are similar to "study spaces", with artificial lights, different scenarios and backgrounds.\r 3. The cooperative women are basically students of Academies of Fine Arts. These girls are immersed in the process of modern visual education and have fashion sensitivity, so they make unusual and personalized clothes. \r This series has a subcategory called "Zhang Qiang's Traceology Report A/X Model" (Zhang Qiang zongji xue baogao A/X moxing 张强踪迹学报告 A/X 模型, 2013 - 2018). The A/X series is more experimental and "free" than the "A/C" series, because it puts more emphasis on the initiative of female collaborators.\r The "Zhang Qiang's Traceology Report A/X Model" consists of about thirteen "free performances" (ziyou xingwei 自由行为) . These performances place greater emphasis on the concepts and initiatives of the counterpart. For example in the performance entitled "Zhang Qiang Traceology Report A/X 7 (Zhang Kaini) [张强踪迹学报告A/X 7 (张凯妮）模型]", Zhang Kaini, the female counterpart, pays close attention to express her thoughts during the performance. \r \r """@en ; sch:image ; write:includesArtwork , , , , . a wd:Q17514 ; wdt:P1476 "With Irresistible Force (势如破竹)"@en, "势如破竹"@zh, "Shìrúpòzhú"@zh-Latn ; wdt:P170 , , ; wdt:P180 , , , , , , ; wdt:P186 , ; wdt:P2048 "6 m"@en ; wdt:P2049 "6 m"@en ; wdt:P276 , ; wdt:P462 , , , ; wdt:P571 "2008-02"^^xsd:gYearMonth ; wdt:P6375 """Nike 706 Art Space in the 798 Art District\r No.4 Jiuxianqiao Rd (Jiǔxiānqiáo Lù 酒仙桥路), Beijing"""@en ; wdt:P88 ; sch:thumbnailUrl ; write:description """The artwork “With Irresistible Force (Shirupozhu 势如破竹)” was created from February 4th to 6th, 2008 by EricTin, Nat, Yumi, and Quan at the Nike 706 Art Space in the 798 Art District. Marked by extensive use of charactering and Chinese calligraphy, the piece created by the Kwanyin Clan is part of a major project entitled “The Lebron Experience Center.” Sponsored by Nike China, the project promotes basketball in the country through outstanding American basketball figures. The project transformed the Nike 706 Art Space, established in January 2007 by Nike China to foster creativity, sport, and self-expression, into a modern interactive basketball court where the brand’s latest products were displayed, and videos of the famous American basketball player LeBron James, represented by a 3D hologram, were shown. In these video projections, the athlete described his six signature moves (dunk, steal, post-up, pass, fade away, and drive), explaining how they helped him become a champion. For the opening ceremony of the “Lebron Six Experiences” event, a huge hall of fame was mounted on the external wall of the art space to host six graffiti pieces. Each piece was created by a famous Chinese crew—Xianggang Fengwei, FLB crew, Kwanyin Clan, ABS crew, Beijing Penzi, and NGC crew—and focused on one of LeBron’s six signature moves. The subject of the Kwanyin Clan's piece was the “post-up,” known in Chinese as “tupo 突破.” Since the primary meaning of tupo 突破 is “to make a breakthrough, break through a defense,” the Kwanyin Clan chose the expression Shirupozhu 势如破竹 (With Irresistible Force) as the title of their work. \r "With Irresistible Force" is a perfect example of the use of calligraphy and Chinese writing in the Kwanyin Clan’s work. The crew created a graffiti piece featuring Chinese characters embellished with calligraphic inscriptions and painted in the traditional colors of calligraphy—white, grey, black, and red (the color of seals). The central part of the work is composed of the four characters of the title (shirupozhu 势如破竹) written in a bold wild style. These characters form a Chinese "four-character idiom" (chengyu 成语) and are flanked by two other wild style pieces. The piece on the upper left is likely by EricTin, as indicated by the motif of the sphere with the traditional character “Guan 觀” in the center and the thin pinnacles sprouting from the intricate characters. The piece on the lower right is by Yumi, confirmed by the small tag written in red, and its undecipherable forms suggest a large fire whose flames burn and generate the entire artwork. The central piece is attributed to Natuo, as the letters of his name are interwoven into the strokes of the Chinese characters. In addition to the diagonal stripe composed of these three pieces, two other significant elements are present: the long black calligraphy in the top right corner and the red colophon in the bottom left corner. The insertion of the chengyu “shirupozhu 势如破竹” in the central piece of the work serves a specific purpose. As EricTin explains: "I like using four-character chengyu as the basis of my works because there is always a story behind them that exceeds the literal meaning of the four characters" (interview 2015). The literal meaning of shirupozhu is "having a power (shi) to (ru) cut down (po) a bamboo (zhu)." It originally refers to the act of smashing into enemy territory "like splitting a bamboo." This idiom describes incisive and "overwhelming power," referring to the traditional way of splitting bamboo by cutting a slit on the top, causing it to split in two halves. This reference to an "overwhelming power" likely alludes to the crew's motto, "push forward with an overwhelming momentum," recorded in their logo. This expression originates from the Book of Jin (Jinshu 晋书), specifically in the fourth chapter of the third section about Biographies (Lie zhuan 列传), which is the 34th volume (juan 卷) of the text. The second half of this chapter focuses on Du Yu 杜预 (222-285), a military general of the Wei state (220-265) during the late Three Kingdoms period (220-280) and early Jin Dynasty (265-420). In 265, the ruler of the Wei state abdicated in favor of Prince Sima Yan 司马炎 (236-290), who ended the Wei state and became the first emperor of the Jin Dynasty. Du Yu became one of his most powerful generals and led an army in the conquest of the Wu state (222-280), their bitter rival. In 280, he succeeded in reuniting the empire and used the expression, which literally means “with enough force to split bamboo,” to encourage his troops during the crucial battle before reunification. His speech had the desired effect. By using this chengyu, the Kwanyin Clan aims to connect Du Yu’s story with LeBron’s. In their different ways, both succeeded in "breaking through" due to their overwhelming force. \r Another reference to battles and the tenacious stubbornness of soldiers is the long calligraphy on the upper right, written in xingcao 行草 style, a blend of semi-cursive and cursive script, arranged traditionally in vertical columns from right to left. According to EricTin (interview 2016), the content of this calligraphy is inspired by the poem "Full River Red" (Man jiang hong 满江红) composed by General Yue Fei (1103-1142). Yue Fei wrote this poem during one of the last battles against the northern barbarians, before the final withdrawal of his imperial army. In this poem, Yue Fei expresses his anger and wrath towards the enemy, as well as his regret for the emperor’s decision to withdraw his troops on the verge of reconquering lost lands. This inclusion of Yue Fei's poem underscores the themes of unwavering resolve and the longing for justice and retribution. It complements the overall message of the artwork by reinforcing the connection between historical military valor and contemporary achievements, drawing a parallel between Yue Fei's unyielding spirit and LeBron's relentless pursuit of greatness. The connection between Yue Fei’s courageous behavior described in the poem and the ‘post-up’ movement depicted in the graffiti work hinges on the four-character chengyu "shirupozhu" (势如破竹) portrayed in the center. Indeed, both the attitude of a basketball player in a post-up position and that of a general confronting enemies are characterized by "irresistible force". In basketball, to post-up means the player positions himself close to the basket with his back to the defender, using his body to shield the defender away and create space to receive a pass or make a shot. This action mirrors the determination to overcome obstacles and achieve a strategic advantage, much like Yue Fei's resolve to defend and reclaim territories with his army. Yue Fei’s desire to shield and advance to restore lands to the emperor resonates with the player’s effort to shield and position himself effectively on the court. Both scenarios exemplify the application of force with a purpose, whether in battle or in sports, encapsulated in the concept of "irresistible force" conveyed by the chengyu.\r The presence of a red inscription on the lower left suggests a nod to the use of red seals in traditional Chinese art. This inscription combines Chinese characters and Latin letters, a characteristic seen in other works by the Kwanyin Clan. Vertically, the characters "Guan Yin 观音" are written in xingcao style (cursive-running script), resembling a traditional colophon with the artist's signature (Kwanyin) near the main calligraphy (the four characters "shirupozhu 势如破竹"). Horizontally, the four tags of the crew members who authored the artwork (ERICTIN, NAT, YUMI, QUANER) are written from left to right, following the typical format of graffiti pieces. Despite the difference in writing systems (Chinese characters versus Latin letters), the style of writing—both characters and letters—is consistent. This unified style blends Chinese and Western traditions seamlessly, showcasing a harmonious integration of cultural influences within the artwork. The parallel presentation of these inscriptions highlights the Kwanyin Clan's ability to merge diverse artistic elements into a cohesive and visually compelling composition, bridging East and West in their expression of graffiti art. \r The choice of colors (black, white, and red) recalls the white paper and black ink of traditional Chinese calligraphy, with its different shades of gray, and the bright red of the seals creates a contrast of tones that balances the entire composition. In this case, red is used both to display the tags of the crew and the writers in the left corner of the work (Guanyin 观音 vertically and Erictin/Nat/Yumi/Quan Er horizontally) and to recall the title of the poem (Full River Red) and its content: the tumultuous battles and the meaning of the four-character chengyu that stands at the core of the entire work. The red flames at the bottom of the writing, from which the whole piece seems to arise, emphasize the fierce atmosphere of the battle. In this piece, the Kwanyin Clan created genuine cohesion between form and content: the upheaval of the battle and the burning passion expressed in the chengyu and in the poem are equally evoked by the rapid and passionate style of the calligraphy at the top, the use of the color red, and the same style used in the colophon at the bottom, as well as by the blazing flames and the impenetrable entanglement of wildstyle characters. White, black, and red are also the colors of the basketball court in the Nike 706 Art Space and of the Nike clothing worn by LeBron in the videos. The colors, shapes, and contents of the graffiti thus transport us into a new battlefield, one of new heroes and products breaking into the Chinese market and society."""@en ; write:hasChengyu true ; write:hasChineseConcept , ; write:hasChineseVisualElement ; write:hasGraffitiGenre ; write:hasGraffitiStyle , , , , , ; write:hasGraffitiType , ; write:hasOtherVisualElement ; write:hasSeal true ; write:hasUnit , , ; sch:image ; write:madeUsingTool . a wd:Q184485 ; wdt:P1132 2 ; wdt:P1476 "Free Cloud Calligraphy (云自在书)"@en, "云自在书"@zh, "Yún zìzài shū"@zh-Latn ; wdt:P175 , ; wdt:P179 ; wdt:P180 , , , , , , , ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P2047 "PT30M"^^xsd:duration ; wdt:P276 ; wdt:P585 "2020-08-02"^^xsd:date ; sch:thumbnailUrl ; write:calligrapher ; write:createsArtwork ; write:description """In this performance, Zhang Qiang creates the so-called "Blinded Calligraphy" (mang shu 盲书): looking away, the artist holds up an ink-soaked brush, creating traces of ink while the female counterpart Ding Feifei 丁斐斐 moves a sheet of paper or silk over his head, as if to simulate the movement of clouds in the sky. However, as Ding Feifei points out, Yunshu 云书 is a work that Ding Feifei conceived and created together with Zhang Qiang, while Mang shu 盲书 is a work that Zhang Qiang conceived independently, inviting women to work with him. In fact, all materials and techniques used are chosen by Ding Feifei, who thus becomes a full-fledged collaborator and creator of the experimentation.\r The performance lasts about half an hour (excluding the preparatory work). During the performance, relaxing background music is played. The music consists on various tracks collected in NetEase Cloud Music (Wangyi yun yinyue 网易云音乐), a freemium music streaming service famous in China. The performance produces three artworks in total (n. 51, 52 and 53)."""@en ; write:hasChineseConcept ; write:hasChineseVisualElement ; write:hasMusicStyle ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image ; write:madeUsingTool wd:Q614467 ; sch:video . a write:DecorativeAndAppliedArt ; wdt:P1071 ; wdt:P1476 "Artworks of the Zhang Qiang's Traceology Report A/J 5 (Zhang Qingzhi) Model - The Divine Brush comes to Jingde [张强踪迹学报告 A/J 5 (张青枝) 模型的艺术品- 神来景德之笔]"@en, "张强踪迹学报告 A/J 5 (张青枝) 模型的艺术品 - 神来景德之笔"@zh, "Zhāng Qiáng zōngjì xué bàogào A/J 5 (Zhāng Qīngzhī) móxíng de yìshù pǐn- shén lái Jǐngdé zhī bǐ"@zh-Latn ; wdt:P179 ; wdt:P186 , ; wdt:P287 , ; wdt:P462 , ; wdt:P571 "2019-01-19"^^xsd:date ; wdt:P856 , ; sch:thumbnailUrl ; write:derivesFrom ; write:description """These artworks are created during the performance Zhang Qiang's Traceology Report A/J 5 (Zhang Qingzhi) Model - The Divine Brush comes to Jingde [张强踪迹学报告 A/J 5 (张青枝) 模型 - 神来景德之笔]. It consists of about a dozen blue and white ceramic objects, with different shapes and sizes. At the time of decoration, a gray colored glaze (you liao 釉料), a material particularly used for Chinese ceramic painting, is diluted in water and then applied on ceramics. After entering the kiln and firing it, the color of the ceramic object turns into blue. For some glazes, it happens that there is no color difference before and after firing. In this case, the graze used has turned into a blue colour.\r On the pottery there is also a "red sign" representing the two charaters of the female counterpart's name "青枝" (Qingzhi). """@en ; write:hasChineseConcept ; write:hasChineseVisualElement , , ; write:hasColophon false ; write:hasDecorativeArtworkType ; write:hasSeal true ; write:hasUnit , ; sch:image ; write:madeUsingTool . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "Luo Qi: Writing Music (洛齐 : 写乐)"@en, "Luo Qi: Calligrafie musicali"@it, "洛齐 : 写乐"@zh, "Luò Qí: xiě yuè"@zh-Latn ; wdt:P1640 ; wdt:P276 , ; wdt:P580 "2019-03-25"^^xsd:date ; wdt:P582 "2019-04-08"^^xsd:date ; wdt:P664 ; wdt:P856 ; write:description """"Luo Qi: Writing Music" is the first personal exhibition of Luo Qi held in Bologna (Italy). The exhibition took place from March 25 to April 8, 2019 at the Library of the University of Bologna. It was curated by Adriana Iezzi and was organized by the Library of the University of Bologna and the Department of Interpreting and Translation of the University of Bologna. \r Within the exhibition, the artist presents five series of calligraphic-musical works in the form of album sheets and long panels that cover the entire room of the Historic Hall of the Library and its entrance. The main series, entitled "Writing Music – Silent Melodies" (Xie yue – Wu sheng zhi ge写乐·无声之歌) , is a set of scrools in which the artist translates famous Italian songs such as “'O sole mio” and “Volare” and from opera arias such as “Rigoletto” and "La traviata" into a concatenation of calligraphic signs. These signs are inspired by one of the oldest Chinese musical notation system named "Dunhuang Musical Notation System" (Dunhuang qupu/yuepu 敦煌曲谱/乐谱), dating back to the 10th century and made up of ancient characters. In these artworks, Luo Qi aims to representing the harmonious encounter between calligraphy and music and between Eastern and Western cultures. \r During the opening ceremony of the exhibition a musicalligraphy performance took place in the Historical Hall featuring Luo Qi and the Collegium Musicum Almae Matris. \r """@en ; write:exhibitedArtwork , , , , , . a wd:Q184485 ; wdt:P1132 5 ; wdt:P1303 , , ; wdt:P1476 "Luo Qi and Collegium Musicum Almae Matris - Musicalligraphy Performance (洛齐与博洛尼亚大学乐队 - 书法音乐表演)"@en, "洛齐与博洛尼亚大学乐队 - 书法音乐表演"@zh, "Luò Qí yǔ Bóluòníyǎ dàxué yuèduì - shūfǎ yīnyuè biǎoyǎn"@zh-Latn ; wdt:P175 ; wdt:P180 , , , , , , , ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P2047 "PT50M"^^xsd:duration ; wdt:P276 , ; wdt:P585 "2019-03-25"^^xsd:date ; wdt:P608 ; wdt:P664 , ; wdt:P856 ; sch:thumbnailUrl ; write:calligrapher ; write:createsArtwork ; write:description "This performance was held during the opening ceremony of the exhibition entiled \"Luo Qi: Writing Music\" (Luo Qi: Calligrafie musicali) at the University Library of Bologna in 2019. During the musicalligraphy performance, the calligrapher Luo Qi was inspired by some famous Italian opera arias played by the Collegium Musicum Almae Matris."@en ; write:hasMusicStyle ; write:hasPerformingArtworkType ; write:hasSongTitle , , , , , , , ; write:hasUnit , ; sch:image ; write:madeUsingTool wd:Q614467 ; write:usesArtwork . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Zhang Huan 张洹" ; wdt:P27 ; wdt:P453 , ; wdt:P569 "1965"^^xsd:gYear ; wdt:P800 , ; wdt:P812 ; wdt:P937 , ; write:description """Zhang Huan is an internationally renowned Chinese artist, known for his pioneering work in performance art and sculpture, often focusing on the human body and its relationship with spirituality, pain, and transformation. In the 1990s, Zhang was one of the founders of the Beijing East Village, a small artistic community located on the outskirts of Beijing. This group of friends from art school became known for their radical and experimental performance art. Zhang’s works, in particular, often attracted the attention and censorship of Chinese authorities, who found them provocative and inappropriate.\r Zhang’s performance art frequently revolves around his own body, usually naked, and explores themes such as endurance, suffering, and transformation. One of his most iconic works is "12 Square Meters" (1994), where Zhang sat naked in a small, prison-like room, his body covered with flies, and half of his head shaved. The performance reflected a raw meditation on pain and physical endurance, while the accompanying photographs portrayed a stoic yet vulnerable figure immersed in discomfort.\r Another famous performance, "To Add One Meter to an Anonymous Mountain" (1995), featured Zhang and nine other artists climbing a mountain near Beijing, stripping off their clothes, and lying atop one another to form a second, symbolic peak. In "To Raise the Water Level in a Fishpond" (1997), Zhang invited 40 migrant workers to stand in a pond, their collective bodies raising the water level. These works reflect the artist’s desire to explore collective action and the relationship between the individual body and larger societal forces.\r In 1998, Zhang moved to New York, where he continued his artistic exploration, still focusing on the naked body and endurance, but also confronting new cultural and personal challenges.\r In 2006, Zhang returned to China and began to focus on sculpture after converting to Buddhism. His sculptural work retained his interest in the body, but with a deeper engagement with Buddhist philosophy and ritual. \r Zhang has exhibited his works in numerous international events, including the 2002 Whitney Biennial and the "Rituals" exhibition at the Akademie der Künste in Berlin. His art continues to challenge the boundaries between body, spirituality, and cultural identity, blending personal suffering with universal themes of transformation and human endurance.\r \r Two most iconic performances including Chinese calligraphy are:\r 1) "1/2" (1998), in which Zhang Huan explores the duality of human nature, contrasting the rational and civil side with the primal and animalistic. Using the body as a medium to express the separation between mind and body, society, and culture, the work also reflects the artist's transcultural experience, torn between Asian and Western cultures (see the archive).\r 2) "Family Tree" (2000), where Zhang Huan invites three calligraphers to write words and phrases on his face, reflecting on cultural and political themes. As his face darkens with the setting sun, the writing, which includes references to Chinese fables and divination, progressively obscures his identity. The performance explores the tension between the body as a medium of communication and the impact of cultural conditioning on individual identity, questioning how an artist can redefine themselves beyond inherited traditions (see the archive).""" ; write:hasCalligraphicTraining "Not present"@en ; write:hasWikidataResource . rdfs:label "Musical-dancing-calligraphy" . rdfs:label "Shuowen Jiezi" . rdfs:label "tradition and modernity" . rdfs:label "emptiness" . rdfs:label "Tianjin" ; wdt:P625 "Point(117.20555555556 39.146666666667)"^^geosparql:wktLiteral . rdfs:label "solar term" . rdfs:label "porcelain" . rdfs:label "University of Bologna" . rdfs:label "France" ; wdt:P625 "Point(2 47)"^^geosparql:wktLiteral . rdfs:label "Shenzhen" ; wdt:P625 "Point(114.05444444444444 22.546666666666667)"^^geosparql:wktLiteral . rdfs:label "human sexuality" . rdfs:label "Loong" . rdfs:label "heritage" . rdfs:label "exhortation" . rdfs:label "hair" . rdfs:label "Library of the University of Bologna" ; wdt:P625 "Point(11.352819 44.497025)"^^geosparql:wktLiteral . rdfs:label "disappearance" . rdfs:label "misogyny" . rdfs:label "eroticism" . rdfs:label "pleasantness" . rdfs:label "silence" . rdfs:label "flower" . rdfs:label "Xi'an" ; wdt:P625 "Point(108.94222222222223 34.26111111111111)"^^geosparql:wktLiteral . rdfs:label "Dongguan" ; wdt:P625 "Point(113.74928 23.04749)"^^geosparql:wktLiteral . rdfs:label "piano" . rdfs:label "British Museum" ; wdt:P625 "Point(-0.12694444444444444 51.519444444444446)"^^geosparql:wktLiteral . rdfs:label "splash" . rdfs:label "impermanence" . rdfs:label "Zhang Xu" ; wdt:P800 . rdfs:label "art" . rdfs:label "rubbing" . rdfs:label "translation" . rdfs:label "COVID-19 pandemic" . rdfs:label "human skin color" . rdfs:label "train" . rdfs:label "fugacity" . rdfs:label "Paris" ; wdt:P625 "Point(2.352222222222222 48.85666666666667)"^^geosparql:wktLiteral . rdfs:label "chaos script" . rdfs:label "great seal script" . rdfs:label "hard style" . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Book from the Sky (天书)"@en, "天书"@zh, "Tiānshū"@zh-Latn ; wdt:P170 ; wdt:P180 , , , , ; wdt:P186 ; wdt:P462 , , , ; wdt:P571 "1988"^^xsd:gYear ; wdt:P608 , , ; wdt:P856 ; write:description """Xu Bing’s "Book from the Sky" is a set of 4 books printed with more than a thousand different characters invented by the artists wihout any real meaning. The title also pertains to an installation whereby the book sets are amalgamated with scrolls cascading from the ceiling and expansive wall panels adorned with the artist's indecipherable characters. \r The beginning of this work was in 1987, when Xu Bing closeted himself in his dormitory room-studio at the Central Academy of Fine Arts in Beijing, devoting a year to creating the first printed version of the "Book from the Sky", composed of 1250 invented characters. He systematically recombined elements drawn from Chinese characters with the aim of inventing new characters devoid of meaning. He then carved them into small wooden blocks suitable for typesetting and printed several forms of books, scrolls, and wall panels. In October 1988, he firstly diplayed them as an installation in his solo exhibition at Beijing's China Art Gallery. In February 1989, the "Book from the Sky" installation was also displayed at the China Art Gallery in Beijing as a centerpiece of the "China/Avant-Garde" exhibition - the first important exhibition of the '85 New Wave art movement. After the first exhibition in 1988, Xu Bing decided to make a new and better set of characters, carving one thousand large and one thousand small characters and working with a small factory in Daxing to rpint and bind the sets of four books. These are the books that Xu Bing has exhibited as the "Book from the Sky" since 1991, after immigrating to the United States in 1990 (Erickson 2001, 33, 37, 40). \r Since that time, the "Book from the Sky" installation has been composed of 3 elements strictly linked to Chinese written tradition: handscrolls, wall panels, and books. The handscrools take the form of Chinese texts from two thousand years ago and are evocative of Buddhist sutra. The wall panels refer to hanging scrools of calligraphy and to wall posters that appeared throughout Chinese Cultural Revolution. The books are laid out in the form of historical books, printed on sheets of xuan paper, folded and bound with string binding according to the tradition, and the characters are rendered in Song style, a popular print style of the Ming dynasty (1368-1644) thet is very plain and clear (ibid., 44-45). This meticulous attention to detail pays homage to the rich history of Chinese scholarship and exegesis preserved in printed form. Xu Bing, weary of the endless philosophical debates surrounding modernism, pseudo-modernism, and postmodernism, that consumed young intellectuals in Beijing in the late 1980s, recognized that, after the Cultural Revolution that had been fueled by words, at that time, with the import of Western texts, words were again consuming young minds. This is why he decided to devote five years of his life to invent and carve unmeaningless characters in order to write unreadable books made of words devoid of any meaning. \r The "Book from the Sky" installation, that consists of suspended scrolls, books, and printed panels arranged in an immersive environment, creates an interplay of space and form. The installations explore the tension between tradition and modernity, weight and emptiness, structure and ambiguity. Xu Bing’s conceptual deconstruction of text—rendering it visually compelling but devoid of semantic content—invites viewers to reconsider the act of reading itself. The artist uses this installation to challenge viewers' perceptions of language and meaning, prompting a reflection on the nature of communication in contemporary society.\r The entire work was originally titled "Mirror to Analyze the World: The Century’s Final Volume" (Xi shi jian—Shiji mojuan 析世鉴－世纪末卷 ).  However, the artist decided to adopt the name that was already in popular use, "Tianshu". In Chinese, the term "tian shu" (divine writing) originally referred to certain kinds of religious texts, but is now used to mean "gibberish"; it has thus been suggested that nonsense writing would be a more appropriate translation of the title.\r In 2021 Xu Bing and i-Space launched the "Xu Bing Tianshu Rocket", a valuable contribution to the constantly developing field of space art. This unprecedented "art rocket" pays tribute to the achievements of Chinese astronauts and embodies the innovative spirit in Xu Bing's works. The rocket is painted with fabricated text from the original work of "Book from the Sky", which is like a container, constantly questioning the randomness and limitations of language.\r \r """ ; write:hasVisualArtworkType , , ; write:hasColophon false ; write:hasSeal false ; write:hasUnit ; write:hasWikidataResource ; write:madeUsingTool . a write:CalliWritingUnit ; wdt:P180 , ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; wdt:P9302 , ; write:attributedTitle "CWU 1 Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells" ; write:description "This CWU is performed during the concert event Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells (萨德勒之井中国书法、音乐和舞蹈音乐会) and consists of the phrase in Chinese characters “Yingguo Zhongguo youyi wangguchangqing英国中国友谊万古长青” (Britain-China Friendship will Last Forever) created by the calligrapher Li Binquan together with the Professor Roger Mason (b.1941) : the first part “Yingguo Zhongguo youyi 英国中国友谊” (Britain-China Friendship) was written by Roger Mason, while the second part “wangguchangqing 万古长青” (will last forever) was written by Li Binquan."@en ; write:directionality "Traditional" ; write:hasBackgroundColour ; write:hasBigCharactersCalligraphy true ; write:hasCalligraphicLine true ; write:hasCharacterForm ; write:hasColophon false ; write:hasSignificance "Meaningful writing" ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 6 ; write:relatedUnit , , , , ; write:transcriptionAndTranslation "英国中国友谊"@zh, "Yīngguó Zhōngguó yǒuyì"@zh-Latn ; write:vectorisedOrDigitised false . a write:CalliWritingUnit ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; write:attributedTitle "CWU 2 Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells" ; write:description "This CWU was created during the concert entitled \"Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells (萨德勒之井中国书法、音乐和舞蹈音乐会)\", an event commissioned by the Chinese government to honour the Summer Olympic Games. It consists of the poem written by Li Binquan entitled “Drinking” (Yinjiu 饮酒) by Tao Yuanming 陶渊明 (365 – 427), a famous scholar in the Eastern Jing Dynasty." ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasSignificance "Meaningful writing" ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 50 ; write:relatedUnit , , , , ; write:transcriptionAndTranslation """One builds a house on human territory,\r yet there is no sound of cart or horse.\r One asks you how this can be so,\r but your mind is a distant place, self-absorbed.\r Picking chrysanthemums under the eastern fence,\r one pensively views the southern mountains.\r The mountain air and sunset are beautiful;\r flying birds return together.\r There is true meaning in this;\r desiring argument, one stops and forgets to speak."""@en, """結廬在人境,\r 而無車馬喧。\r 問君何能爾？ \r 心遠地自偏。 \r 採菊東籬下， \r 悠然見南山。\r 山氣日夕佳， \r 飛鳥相與還。 \r 此中有真意,\r 欲辯已忘言。 """@zh, """结庐在人境,\r 而无车马喧。\r 问君何能尔？\r 心远地自偏。\r 采菊东篱下，\r 悠然见南山。\r 山气日夕佳，\r 飞鸟相与还。\r 此中有真意,\r 欲辩已忘言。"""@zh, """jié lú zài rén jìng \r ér wú chē mǎ xuān\r wèn jūn hé néng ěr \r xīn yuǎn dì zì piān\r cǎi jú dōng lí xià\r yōu rán jiàn nán shān\r shān qì rì xī jiā\r fēi niǎo xiāng yǔ huán\r cǐ zhōng yǒu zhēn yì\r yù biàn yǐ wàng yán"""@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; write:attributedTitle "CWU 3 Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells" ; write:description "This CWU is part of the concert entitled \"Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells (萨德勒之井中国书法、音乐和舞蹈音乐会)\", an event commissioned by the Chinese government to honour the Summer Olympic Games. It consists of the characters realized by Li Binquan, composing the poem “Prelude to Water Melody” (Shui diao ge tou · mingyue jishi you 水调歌头 · 明月几时有) by Su Shi (1036-1101), who wrote these lyrics while he was drunk and missing his younger brother (Su Zhe) on the Mid-Autumn Festival of the year Bingzhen (1076)." ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasSignificance "Meaningful writing" ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 95 ; write:relatedUnit , , , , ; write:transcriptionAndTranslation """How long will the full moon appear?\r Wine cup in hand, I ask the sky.\r I do not know what time of the year\r It would be tonight in the palace on high.\r Riding the wind, there I would fly,\r Yet I'm afraid the crystalline palace would be\r Too high and cold for me.\r I rise and dance, with my shadow I play.\r On high as on earth, would it be as gay?\r The moon goes round the mansions red\r Through gauze-draped window soft to shed\r Her light upon the sleepless bed.\r Why then when people part, is the oft full and bright?\r Men have sorrow and joy; they part or meet again;\r The moon is bright or dim and she may wax or wane.\r There has been nothing perfect since the olden days.\r So let us wish that man\r Will live long as he can!\r Though miles apart, we'll share the beauty she displays."""@en, """明月几时有？把酒问青天。\r 不知天上宫阙，今夕是何年？\r 我欲乘风归去，又恐琼楼玉宇，高处不胜寒。\r 起舞弄清影，何似在人间？\r 转朱阁，低绮户，照无眠。\r 不应有恨，何事长向别时圆？\r 人有悲欢离合，月有阴晴圆缺，此事古难全。\r 但愿人长久，千里共婵娟。"""@zh, """míng yuè jǐ shí yǒu? bǎ jiǔ wèn qīng tiān.\r bùzhī tiān shàng gōng què, jīn xī shì hé nián?\r wǒ yù chéng fēng guī qù, yòu kǒng qióng lóu yù yǔ, gāo chùbù shèng hán.\r qǐ wǔ nòng qīng yǐng, hé sì zài rén jiān?\r zhuǎn zhū gé, dī qǐ hù, zhào wú mián.\r bù yīng yǒu hèn, hé shìcháng xiàng bié shí yuán?\r rén yǒu bēi huān lí hé, yuè yǒu yīn qíng yuán quē, cǐ shì gǔ nán quán.\r dàn yuàn rén cháng jiǔ, qiān lǐ gòng chán juān."""@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; write:attributedTitle "CWU 4 Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells" ; write:description "This CWU is part of the concert entitled \"Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells (萨德勒之井中国书法、音乐和舞蹈音乐会)\", an event commissioned by the Chinese government to honour the Summer Olympic Games. It consists of the characters realized by Li Binquan reproducing the poem “Drinking Alone Beneath the Moon\" (Yue xia duzhuo 月下独酌) by Li Bai, a poem about loneliness and companionship, and the way alcohol blurs the line between the two." ; write:hasBackgroundColour ; write:hasSignificance "Meaningful writing" ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 70 ; write:relatedUnit , , , , ; write:transcriptionAndTranslation """Among the blossoms waits a jug of wine.\r I pour myself a drink, no loved one near.\r Then raising my cup, I invite the bright moon\r and turn to my shadow. We are now three.\r But the moon doesn’t understand drinking,\r and my shadow follows my body like a slave.\r Still, for a time they will be my companions,\r a passing joy that should last through the spring.\r I sing and the moon just wavers in the sky;\r I dance and my shadow whips around like mad.\r While lucid still, we have such fun together!\r But stumbling drunk, each staggers off alone.\r Though bound forever, unfettered we roam\r till we meet on yonder river of stars."""@en, """花間一壺酒，\r 獨酌無相親；\r 舉杯邀明月，\r 對影成三人。\r 月既不解飲，\r 影徒隨我身；\r 暫伴月將影，\r 行樂須及春。\r 我歌月徘徊，\r 我舞影零亂；\r 醒時同交歡，\r 醉後各分散。\r 永結無情遊，\r 相期邈雲漢。"""@zh, """花间一壶酒，\r 独酌无相亲；\r 举杯邀明月，\r 对影成三人。\r 月既不解饮，\r 影徒随我身；\r 暂伴月将影，\r 行乐须及春。\r 我歌月徘徊，\r 我舞影零乱；\r 醒时同交欢，\r 醉后各分散。\r 永结无情游，\r 相期邈云汉。"""@zh, """Huā jiān yī hú jiǔ,\r Dú zhuó wū xiāng qīn;\r Jǔ bēi yāo míng yuè,\r Duì yǐng chéng sān rén.\r Yuè jì bù jiě yǐn,\r Yǐng tú suí wǒ shēn;\r Zàn bàn yuè jiāng yǐng,\r Xínglè xū jí chūn.\r Wǒ gē yuè páihuái,\r Wǒ wǔ yǐng língluàn;\r Xǐng shí tóng jiāo huān,\r Zuì hòu gè fēnsàn.\r Yǒng jié wúqíng yóu,\r Xiāng qī miǎo yúnhàn."""@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; write:attributedTitle "CWU 5 Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells" ; write:description "This CWU is part of the concert entitled \"Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells (萨德勒之井中国书法、音乐和舞蹈音乐会)\", an event commissioned by the Chinese government to honour the Summer Olympic Games. It consists of the characters realized by Li Binquan reproducing the poem “Qinyuan Spring · Snow” (Qinyuan Chun · Xue 沁园春·雪) written during the “Die Libelle, Polka-Mazurka”, by Josef Strauss and composed by Mao Zedong during the Eastern Expedition in 1936." ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasSignificance "Meaningful writing" ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 300 ; write:relatedUnit , , , , ; write:transcriptionAndTranslation """My country’s northern scenery:\r A thousand li encased in ice,\r Ten thousand li of swirling snow.\r The noble Wall surrounded on both sides\r By only blank totality.\r The Yellow River’s epic stretch\r Locked into place, its torrents stilled.\r The mountains, dancing silver snakes,\r The highlands, charging elephants,\r Triumphantly competing with the heavens’ lofty height.\r And come a clear day,\r The land adorned with sunlight, draped in white,\r Seduces all who bear its sight.\r \r That wondrous view, so dear and tender all at once,\r Moved countless heroes, bowing from their waists, to pay their due homage.\r Alas, for Zheng of Qin and Wu of Han\r Grasped not the art of poetry,\r While Zong of Tang and Zu of Song\r Had not virile minds nor forms.\r A generation’s pride and joy,\r The fierce and mighty Genghis Khan,\r Knew only how to shoot the condors up above the steppes.\r They are but history,\r For those who seek a greater figure yet\r Must look toward this age alone."""@en, """北国风光，\r 千里冰封，\r 万里雪飘。\r 望长城内外，\r 惟余莽莽；\r 大河上下，\r 顿失滔滔。\r 山舞银蛇，\r 原驰腊象，\r 欲与天公试比高。\r 须晴日，\r 看红装素裹，\r 分外妖娆。\r \r 江山如此多娇，\r 引无数英雄竞折腰。\r 惜秦皇汉武，\r 略输文采；\r 唐宗宋祖，\r 稍逊风骚。\r 一代天骄，\r 成吉思汗，\r 只识弯弓射大雕。\r 俱往矣，\r 数风流人物，\r 还看今朝"""@zh, """Běiguó fēngguāng, \r qiānlǐ bīng fēng, \r wànlǐ xuě piāo. \r Wàng chángchéng nèiwài, \r wéi yú mǎngmǎng; \r dàhé shàngxià, \r dùn shī tāotāo. \r Shān wǔ yín shé, \r yuán chí là xiàng, \r yù yǔ tiāngōng shì bǐ gāo. \r Xū qíng rì, \r kàn hóngzhuāng sù guǒ, \r fèn wài yāoráo. \r Jiāngshān rúcǐ duō jiāo, \r yǐn wúshù yīngxióng jìng zhéyāo. \r Xī qínhuánghàn wǔ, \r lüè shū wéncǎi; \r táng zōng sòng zǔ, \r shāo xùn fēngsāo. \r Yīdài tiānjiāo, \r chéngjísīhán, \r zhǐ shí wān gōng shè dà diāo. \r Jù wǎng yǐ, \r shù fēngliú rénwù, \r hái kàn jīnzhāo"""@zh-Latn . a write:CalliWritingUnit ; wdt:P144 ; wdt:P186 , ; wdt:P282 ; wdt:P462 ; write:attributedTitle "CWU 6 Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells" ; write:description "This CWU is part of the concert entitled \"Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells (萨德勒之井中国书法、音乐和舞蹈音乐会)\", an event commissioned by the Chinese government to honour the Summer Olympic Games. It consists of some characters realized by Li Binquan representing some excerpts from “A Tale of Two Cities” (Shuangchengji 双城记) by the English writer Charles Dickens (1812-1870) written in Chinese. One example is: “It was the best of times, it was the worst of times” (in Chinese “Na shi zui meihao de shidai, na shi zui zaogao de shidai 那是最美好的时代、那是最糟糕的时代”)."@en ; write:hasBackgroundColour ; write:hasCalligraphicLine true ; write:hasSignificance "Meaningful writing" ; write:isUnitOf , ; write:madeUsingTool ; write:numberOfCharacters 16 ; write:relatedUnit , , , , ; write:transcriptionAndTranslation "It was the best of times, it was the worst of times"@en, "那是最美好的时代、那是最糟糕的时代"@zh, "Nà shì zuì měihǎo de shídài, nà shì zuì zāogāo de shídài"@zh-Latn . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Retranslation & Rewriting of Tang Poem no.1 (碑林 · 唐诗后著之一)"@en, "碑林 · 唐诗后著之一"@zh, " Bēilín · Táng shī hòu zhù zhī yī"@zh-Latn ; wdt:P170 ; wdt:P179 ; wdt:P180 , , ; wdt:P186 ; wdt:P2048 "190 cm" ; wdt:P2049 "110 cm" ; wdt:P2610 "20 cm" ; wdt:P462 , ; wdt:P571 "2005"^^xsd:gYear ; wdt:P608 ; wdt:P941 ; write:description """In this stele the text undergoes a double linguistic mediation of the poem "One-Hearted" (Xiang Si 相思) by Wang Wei. The English translation of Wang Wei’s poem is phonetically transcribed into Chinese characters (CWU 3). That phonetic Chinese text is then translated back into English (CWU 4).\r The colophon reports information about Gu Wenda's project: "Forest of Stone Tablets - Retranslation and Rewriting of Tang Poem: No. 1. This project began in 1993 and completed in 2000 in Xi'an, China.\"""" ; write:hasVisualArtworkType , , ; write:hasColophon true ; write:hasSeal true ; write:hasUnit , , , ; write:madeUsingTool . a wd:Q215627 ; wdt:P103 , ; wdt:P106 , , , , ; wdt:P1412 , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Lia Wei 魏离雅" ; wdt:P27 ; wdt:P361 ; wdt:P453 ; wdt:P569 "1986"^^xsd:gYear ; wdt:P800 , , ; wdt:P812 , , , ; wdt:P937 , ; write:description """After a couple of years spent between architecture and anthropology studies in Brussels, she moved to China in 2007, to continue studying calligraphy and sigillography in China Academy of Arts, Hangzhou. She then moved to Chongqing in 2009, where she studied Chinese Painting and Printmaking.\r In 2014-2015, Lia Wei lectured at the Art Theory department in Sichuan Fine Arts Institute on the ‘History of Sinology: The Study of East Asian Art in the West’, and at the Archaeology department at Renmin University of China on ‘Comparing Values in Cultural Heritage: Landscape, Identity and Authenticity’. In 2015-2017, she taught the MA ‘Art and Archaeology of the Silk Road’ at the department of the History of Art and Archaeology SOAS. In 2013- 2017, she launched a collaborative project in creative archaeology with geographer Rupert Griffiths entitled ‘Site_Seal_Gesture’.\r Lia Wei has obtained her PhD, entitled ‘Rock-cut burials along the Upper Yangzi River, 2nd to 3rd century CE’ at the School of Oriental and African Studies (SOAS), University of London, and has accepted an appointment at the department of Archaeology in Renmin University of China, Beijing, from September 2018. This year, she joined the EAst/ULB platform and delivered a series of conferences entitled ‘Regard sur la Tradition Lettrée’ at Université Libre de Bruxelles, which combined theoretical and practical sessions on calligraphy, sigillography and landscape painting.\r In April 2018, Lia Wei acted as academic supervisor for the first edition of the Ink Art Week in Venice, including a collective exhibition of contemporary ink art entitled Ink Riders in Magazzino del Sale n°3 hosted by the Accademia delle Belle Arti di Venezia and a conference hosted by Ca’ Foscari University. She coordinates the next edition of the Ink Art Week, planned for May 6th to May 11th in Brussels, Belgium."""@en ; write:hasCalligraphicTraining "Academic"@en ; write:isCalligrapherOf . a wd:Q184485 ; wdt:P1132 4 ; wdt:P1476 "Zhang Qiang's Traceology A/C 32 Model Art Exhibition - Ink Action in Paris (张强踪迹 A/C 32 模型艺术展 - 巴黎行墨)"@en, "张强踪迹 A/C 32 模型艺术展 - 巴黎行墨"@zh, "Zhāng Qiáng zōngjī A/C 32 móxíng yìshù zhǎn - Bālí xíng mò"@zh-Latn ; wdt:P175 , , , ; wdt:P179 ; wdt:P180 , , , , ; wdt:P186 wd:Q127418, wd:Q23852 ; wdt:P2047 "PT30M"^^xsd:duration ; wdt:P276 ; wdt:P585 "2007-03"^^xsd:gYearMonth ; sch:thumbnailUrl ; write:calligrapher ; write:description "This performance takes place in 2007 in Paris. Zhang Qiang on this occasion goes as far as \"full-body painting\": the brushstrokes are deposited directly on the naked bodies of the three artists Émeline Albespy (艾米丽娜), Orane Aguirre (欧拉娜) e Isabelle Giovacchini (伊莎贝尔· 乔瓦契尼), completely covering them with \"traces of ink\"."@en ; write:hasChineseConcept ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image ; write:madeUsingTool wd:Q614467 . a wd:Q184485 ; wdt:P1132 3 ; wdt:P1476 "Zhang Qiang's Traceology Report A/C 3 Model - Cicada Wings (张强踪迹学报告 A/C 3 模型 - 蝉翼缥举)"@en, "张强踪迹学报告 A/C 3 模型 - 蝉翼缥举"@zh, "Zhāng Qiáng zōngjī xué bàogào A/C 3 móxíng - chán yì piāo jǔ"@zh-Latn ; wdt:P175 , , ; wdt:P179 ; wdt:P180 , , , , , ; wdt:P186 wd:Q127418, wd:Q23852, wd:Q37681 ; wdt:P2047 "PT1H"^^xsd:duration ; wdt:P276 ; wdt:P585 "2002-02-01"^^xsd:date ; wdt:P608 ; sch:thumbnailUrl ; write:calligrapher ; write:createsArtwork ; write:description """This performance takes place on February 1st, 2002 at the "Great Exhibition Court" of the London British Museum in occasion of the "Brushes with Surprise: The Art of Calligraphy in Modern China Exhibition" (Jingren zhi bi—xiandai Zhongguo shufa zhan 惊人之笔—现代中国书法展). In this performance, Zhang Qiang writes on clothes previously realized by himself. Zhang Qiang used a roll of silk (a type of silk called juan "绢") then folded it in half and created a slit in the middle, asking the models (Rachel and Claire Portal) to wear it. Zhang Qiang, looking away from the female counterparts realizes calligraphic traces on the models' bodies and clothes. At the end of the performance, the "traced" clothes were exhibited in the museum.\r A similar performance entitled "Zhang Qiang's Traceology Report A/C 4 Model - Enchanting Golden Wings (Zhang Qiang zongji xue baogao A/C 4 moxing - Jin yu yaorao 张强踪迹学报告A/C 4 模型 - 金羽妖娆)” was held the day after this performance (February 2nd, 2002) at the same place, with two models named Claire Portal and Zhai Teng 斋藤.""" ; write:hasChineseConcept ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image ; write:madeUsingTool wd:Q614467 . a wd:Q184485 ; wdt:P1132 2 ; wdt:P1476 "Zhang Qiang's Traceology Report A/J 5 (Zhang Qingzhi) Model - The Divine Brush Comes to Jingde [张强踪迹学报告 A/J 5 (张青枝) 模型 - 神来景德之笔]"@en, "张强踪迹学报告 A/J 5 (张青枝) 模型 - 神来景德之笔 "@zh, "Zhāng Qiáng zōngjī xué bàogào A/J 5 (Zhāng Qīngzhī) móxíng - Shén lái Jǐngdé zhī bǐ"@zh-Latn ; wdt:P175 , ; wdt:P179 ; wdt:P180 , , , , , , ; wdt:P186 wd:Q127418, wd:Q1431523, wd:Q45621 ; wdt:P2047 "PT30M"^^xsd:duration ; wdt:P276 ; wdt:P585 "2019-01-19"^^xsd:date ; wdt:P608 ; sch:thumbnailUrl ; write:calligrapher ; write:createsArtwork ; write:description """This performance took place in 2019 at the Sanbaopeng Ceramic Art Base of Jingdezhen (Jingdezhen sanbao peng yishu juluo 景德镇三宝蓬艺术聚落). The female counterpart Zhang Qingzhi 张青枝 is holding and rotating some ceramic objects (of different shapes and sizes) while Zhang Qiang, looking away, writes on the objects with a particular glaze used to decorate ceramics, leaving traces on them. During the performance, the female counterpart freely chooses background music from her mobile phone. At the end of the performance, the ceramics (about a dozen in total) are donated to the sponsors and organizers of the exhibition, while the remaining part is added to Zhang Qiang's private collection. On the ceramics there is often a "red sign", representing the two characters of the name of the female counterpart "青枝" (Qingzhi).\r During the same exhibition (from January 19 to 29, 2019) other performances of the same kind also took place: 1) Zhang Qiang's Traceology Report A/J 4 (Gu Yun) Model [张强踪迹学报告 A/J 4 (顾韵) 模型 ]; 2) Zhang Qiang's Traceology Report A/J 6 (Guan Wenru) Model [张强踪迹学报告A/J 6 (关文茹) 模型 ]; 3) Zhang Qiang's Traceology Report A/J 7 (Gao Ya) Model [张强踪迹学报告A/J 7 (高雅) 模型 ]; 4) Zhang Qiang's Traceology Report A/J 8 (Jane Yijing) Model [张强踪迹学报告A/J 8 (简怡静) 模型]."""@en ; write:hasChineseConcept ; write:hasChineseVisualElement , ; write:hasPerformingArtworkType ; write:hasUnit , ; sch:image ; write:madeUsingTool wd:Q614467 . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P21 ; wdt:P2561 "Luo Shan 罗姗 " ; wdt:P27 ; wdt:P453 , ; wdt:P800 , ; wdt:P937 ; write:description "Luo Shan is the female collaborator of Sun Ping. "@en ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:isCalligrapherOf , . a wd:Q184485 ; wdt:P1132 2 ; wdt:P1476 "\"Vagina Font\" Calligraphy ( \"bi - 体\" 书法)"@en, "\"bi - 体” 书法"@zh, "\"Bi - tǐ\" shūfǎ"@zh-Latn ; wdt:P175 , ; wdt:P180 , , , ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P2047 "PT20M"^^xsd:duration ; wdt:P276 ; wdt:P585 "2013-05-30"^^xsd:date ; wdt:P608 ; write:calligrapher ; write:createsArtwork ; write:description "This performance took place on 30th May 2013, during the Exhibition “Splashed Ink at Venice - The performance of 'Vagina Font' Chinese Calligraphy: 'L’Internationale' and 'The Way of the Brush'” (Mo sa Weinisi - ji “b- ti” shufa biaoyan: “Guojige” yu “bimo zhi dao” shufa biaoyan ji 墨洒威尼斯 - 记 “bi - 体” 书法表演: 《国际歌》与《笔墨之道》书法表演记) in occasion of the “55th Venice Biennale Parallel Exhibition Chinese Independent Art Exhibition - Unseen Voices” (“Di 55 jie Weinisi shuang nian zhan pingxing zhan Zhongguo duli yishu zhan - weiceng chengxian de shengyin” 第55届威尼斯双年展平行展中国独立艺术展 - 未曾呈现的声音). In this performance, Sun Ping wears a white t-shirt with the black Chinese character meng 夢 (Dream) written in traditional form. Sun Ping assists his collaborator Luo Shan as she executes calligraphy using a brush dipped in red and black ink inserted inside her vagina. Luo Shan is half naked and wearing a red nightgown and a carnival mask (probably a tribute to the famous Venice carnival). Her movements attempt to reproduce Chinese characters, but finally result in a set of signs and dots. At the end of the performance, all the remaining ink was poured onto the exhibition board. The two artists stretched their hands upwards, in a gesture of sending fuck off."@en ; write:hasChineseConcept ; write:hasPerformingArtworkType ; write:hasUnit , ; write:madeUsingTool wd:Q10816, wd:Q5880, wd:Q614467 . a wd:Q184485 ; wdt:P1132 22 ; wdt:P1303 , ; wdt:P1476 "Cursive (行草)"@en, "行草"@zh, "Xíngcǎo"@zh-Latn ; wdt:P175 ; wdt:P179 ; wdt:P180 , , , ; wdt:P2047 "PT1H15M"^^xsd:duration ; wdt:P276 ; wdt:P585 "2001-12-01"^^xsd:date ; wdt:P86 ; write:description "“Cursive” is a contemporary dance choreography performed for the first time on December 1, 2001, at the “National Theater” of Taipei (Taiwan) and then staged again on September 6, 2009, in the same place. With the study of the dancers and the awareness of their bodies, the choreographer Lin Hwai-min discovers that this type of study went beyond the very concept of dance, outlining itself as a real dance on the aesthetics of calligraphy. It is a journey to explore the body, which contains a set of unique languages never experienced before. The movements of the dancers’ bodies all originate from the inside out, just like calligraphy, which emphasizes the movement of the brush in contact with the air, leaving empty spaces around. The ten chapters comprising “Cursive” were performed by twenty-two dancers. They dance in black costumes on a white stage, like ink on rice paper. The female dancers wore black jumpsuits and the male dancers loose black pants that were asymmetrical, with the right leg narrow and the left leg broad. Videos and presentations of traditional calligraphy are projected onto a huge white screen behind the dancers: calligraphies by Wang Xizhi 王羲之 (303–361), Huai Su 怀素 (737–799), Zhang Xu 张旭 (fl. 8th century) and other famous masters of past dynasties are presented to the audience in large scale, merging with the movements of the dancers in the foreground floor. The background music for “Cursive” was composed by internationally renowned contemporary composer Qu Xiaosong 瞿小松 (b. 1952), and was recorded in Heidelberg, Germany with an ensemble of cellos and percussion, creating a moving tension. Qu Xiaosong leaves a lot of empty space in the musical composition, merging calligraphy and dance into one and unique flow. The first chapter of the performance begins with a single female dancer in the corner of the stage with no music. She dances without fully stretching the torso and limbs. The movement of the body is very slow, concentrated, and precise, giving rise to involuntary physical vibrations, the so-called “qi vibration” (qidong 汽动). In the second chapter, female dancer Zhou Zhangning 周章佞 [Chou Chang-ning] dances in front of a projection of the Chinese character yong 永 (eternal).The yong font contains all the basic variations of brush strokes and gestural vocabularies commonly used in the standard style (kaishu 楷书), cursive style (caoshu草书), and wild cursive style (kuangcao 狂草) in Chinese calligraphy. The order of the movement of the brush serves as a sequential score of the dancer’s movement. She repeatedly writes/dances the yong character with her whole body. The gesture of writing in Chinese calligraphy is the metamorphosis of nature. Yong as the diagram of the foundation of the brushstrokes refers to: “a cloud formation stretching a thousand li; indistinct, but not without form; like a stone falling from a high peak, bouncing and crashing, about to shatter the ground; a withered vine, ten thousand years old; crashing waves or rolling thunder”. During the third chapter, a group of seven dancers vocalize their fast movement amplifying the sound of their breathing without music. The light gradually fades as the dancers continued to vocalize breathing and moving. In the fourth chapter, a male dancer starts dancing at the back of the stage, with a female dancer opposite. At first, they dance in unison, but the female moves by often resting her lower body on the floor, while the male stands in a higher position. The female gradually begins to move towards the male’s territory, dancing in front of him. Both dancers implement sequences of independent movements without physical contact and feed the tension between uniting and keeping apart, echoing the principles of Yin 阴 and Yang 阳, two opposite but interpenetrating parties that cannot live without each other. In the next fifth chapter, a nearly naked male sits on the floor behind a transparent screen with his back to the audience. The projected freeze frame is the beitie 碑帖 (a rubbing of an inscribed script on stone) of the white cursive words on a black background reproducing the poem entitled “Li Sao 离骚” (Encountering Sorrow) realized by Mi fu 米芾 (1051–1107). This is an ancient Chinese poem from the anthology Chuci traditionally attributed to Qu Yuan 屈原 (c. 340 – 278). On the dark stage, the dancers’ skin becomes a surface that absorbs light and reveals the calligraphic characters. As the dancers move their torsos, the characters become “liquid”, flowing over their skin. When the characters touch the dancers’ skin, the characters become brighter. A red circle faded in on the stage while the dancers transited into lower still postures, with the whole stage’s lighting faded out. The ninth chapter is a solo female dance by Chou Chang-ning 周章佞. Instead of dancing simultaneously with the projected character, this time Zhou dances in front of the panel placed in the centre of the stage, which portrays the work pan 磐 (hard stone) created by Tong Yang-Tze 董陽孜. The long black dress with 510 cm long sleeves worn by Chou Chang-ning is a reference to the elements of Chinese opera. Zhou begins with her back to the audience, then turns to the audience, which she resonated with the Chinese opera theatrics of liang xiang 亮相 (lit. “strike a pose on the stage”). Zhou moves the heavy long sleeves to evoke weightlessness, like a flying dragon and a dancing phoenix moving like a brush on the soft rice paper. "@en ; write:hasChineseConcept , , ; write:hasMusicStyle ; write:hasPerformingArtworkType ; write:hasUnit , , , ; write:usesArtwork . a wd:Q4502142 ; wdt:P1071 , ; wdt:P1476 "The Bamboo Path (竹径)"@en, "竹径"@zh, "Zhú jìng"@zh-Latn ; wdt:P170 ; wdt:P180 , , , ; wdt:P186 , , , ; wdt:P2048 "5 m (each)" ; wdt:P2049 "15 cm (each)" ; wdt:P462 , , , , ; wdt:P571 "2017-06"^^xsd:gYearMonth ; wdt:P608 , , , ; wdt:P941 , , , ; sch:thumbnailUrl ; write:description """The installation "The Bamboo Path" (Zhu jing 竹径) by Wang Dongling was first shown in 2017 as part of the exhibition "Wang Dongling: The Bamboo Path (王冬龄：竹径)" held at the OCAT Shenzhen Pavillion. The work pays tribute to bamboo and immerses the viewer in a recreated natural environment. It consists of a short path, more than 20 meters long, crossing a bamboo grove with 201 bamboo poles and 30 propylene panels. Poles and panels are inscribed by the artist in various calligraphic styles. This installation examplifies Wang Dongling's exploration of diverse materials and supports for his calligraphy. Writing on bamboo evokes the practices of pre-Qin scholars, who primarily used bamboo strips to read, write, and study. At the same time, the work emphasizes the cultural significance of bamboo in Chinese tradition, as a symbol of righteousness and a noble spirit in the eyes of the literati.\r The installation evokes multive narratives from the Chinese cultural past. It recalls the Seven Sages of the Bamboo Grove (Zhulin Qi Xian 竹林七贤), a group of third-century scholars whose gatherings deeply influenced Chinese poetry, music, and art. The bamboo grove also resonates the Wang Xizhi's "Orchid Pavilion Preface" (Lanting Xu), a calligraphic masterpiece in which the calligrapher describes a poetic gathering among literati. During this event, participants composed verses while drinking wine in a landscape surrounded by high mountains, steep hills, dense forests and tall bamboos (chong shan jun ling, mao lin xiu zhu 崇山峻領, 茂林脩竹 ). On another occasion, the Tang dynasty poet Li He (790-816) wrote the "Songs of Chu" (Chu Ci 楚辞) on bamboo. Similarly, Wang Dongling extends this lineage by writing his calligraphy on bamboo poles, measuring 5 m high and 12-15 cm in diameter. In addition, propylene panels with Chinese calligraphy written using white acrylic paint enrich the installation. The black ink on the bamboo poles interacts visually with the write acrylic on the propylene transparent panels. This creates a dialogue between different surfaces and materials, while projected shadows of the Wang's Chaos Script intensify a sense of movement and rhytm. \r In Chinese traditional culture, bamboo is one of the "Four Gentlemen" (si junzi 四君子) together with the plum blossom, orchid, and chrysanthemum. Flexible enough to withstand storms without breaking, bamboo has long been personified as a spiritual and cultural symbol of integrity, purity, modesty, and restraint, characteristics that Chinese gentlemen were expected to embody.\r \r The bamboo poles, together with 30 transparent proprylene panels of the exhibition ”Wang Dongling: The Bamboo Path”, were also reused in the "Zi·Canglang ting (自·沧浪亭)" exhibition held in Suzhou in 2018 and in the "Between Bamboo (竹·间)" solo exhibition held in Suzhou in July 2019. \r \r Calligraphies in white acrylic paint on transparent propylene panels were also displayed during other exhibitions and performances, such as:\r - the performance "Zhuangzi · Enjoyment in Untroubled Ease (庄子 · 逍遥游)" at the "'Edge of The Earth' - Asian Contemporary Art Invitation Exhibition" ('De zhi yuan' - Yazhou dangdai yishu kaimu "地之缘" - 亚洲当代艺术開幕) held in Hangzhou, 2003;\r - the "Dao Xiang-Wang Dongling Calligraphy Art Exhibition" (Dao xiang · Wang Dongling shufa yishu zhan 道象 · 王冬龄书法艺术展 ) held at the Imperial Ancestral Temple Art Museum in Beijing, 2016;\r - the calligraphic performance “The Way that Can Be Spoken” (Dao Ke Dao 道可道) at the Victoria and Albert Museum (2016) during the London Craft Week.\r \r """@en ; write:hasVisualArtworkType , ; write:hasColophon true ; write:hasSeal false ; write:hasUnit , ; sch:image ; write:madeUsingTool . a wd:Q4502142 ; wdt:P1071 ; wdt:P1476 "Wandering Beyond: I (一写 《逍遥游》)"@en, "一写 《逍遥游》"@zh, "Yī xiě “Xiāoyáo yóu”"@zh-Latn ; wdt:P170 ; wdt:P180 , ; wdt:P186 , ; wdt:P2048 "7.5 m" ; wdt:P2049 "12.5 m" ; wdt:P462 , ; wdt:P571 "2003"^^xsd:gYear ; wdt:P941 ; sch:thumbnailUrl ; write:description """This Visual Artwork consists in the calligraphic piece realized by Wang Dongling in 2003. Wang Dongling used for the first time the text "Wandering Beyond" (Xiaoyaoyou 逍遥游) from Zhuangzi. It represents the first iconic monumental calligraphy work of the artist, measuring 7 x 12 meters long. The writing lines cross each other in a three-dimensional space, with a strong dynamic vision which gives a sense of vitality and movement. Wang transcribed the first chapter of Zhuangzi on several other occasions:\r - Wandering Beyond: I (Yi xie "Xiaoyao you" 一写 《逍遥游》, 2003), Ink on Paper, 750cm×1250cm;\r - Wandering Beyond: II (Er xie "Xiaoyao you" 二写《 逍遥游》, 2003), Ink on Paper, 750cm×1000cm;\r - Wandering Beyond: III (San xie "Xiaoyao you" 三写《逍遥游》), Ink on Paper, 730cm×1785cm; \r - Wandering Beyond ("Xiaoyao you"《逍遥游》, 365 x 432 cm (in Chaos Script, luanshu), 2015\r \r """@en ; write:hasVisualArtworkType ; write:hasColophon true ; write:hasSeal true ; write:hasUnit ; sch:image ; write:madeUsingTool . rdfs:label "man and nature" . rdfs:label "Chinese ceramics" . rdfs:label "change" . rdfs:label "fluid flow" . rdfs:label "conceptual artwork" . rdfs:label "violence" . rdfs:label "Tao Te Ching" . rdfs:label "Tian" . rdfs:label "collage" . rdfs:label "permanent marker" . rdfs:label "International Museum and Library of Music" ; wdt:P625 "Point(11.350174 44.49279)"^^geosparql:wktLiteral . rdfs:label "Su Shi" . rdfs:label "Wang Xizhi" . rdfs:label "ceramic" . rdfs:label "Śūnyatā" . rdfs:label "cloth" . rdfs:label "approximately" . rdfs:label "cello" . rdfs:label "uterus" . rdfs:label "clerical script" . rdfs:label "junzi" . rdfs:label "qi" . a wd:Q184485 ; wdt:P1303 ; wdt:P1476 "Sans Papier - Song Papier"@en ; wdt:P175 , , , , ; wdt:P180 , , , ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P2047 "PT1H"^^xsd:duration ; wdt:P276 ; wdt:P585 "2011-05-30"^^xsd:date ; wdt:P608 ; sch:thumbnailUrl ; write:calligrapher ; write:description """This “in concert” performance took place on May 30, 2011, in the Carlo de Carli Hall - Milan Bovisa Campus of the Politecnico di Milano as the inaugural event for the exhibition “Sans papier/son papier”, held from May 27 to July 14. An original exhibition at the Polytechnic University of Milan-Bovisa uses paper to define the utopia and the contradictions of contemporary society starting from the hopes of the “sans papier”. Paper, the privileged material of the culture of recycling, takes on multiple symbolic meanings, from the exploration of new forms of expression and construction to the search for identity and citizenship of the “sans papier”, migrants who aspire to integration into the societies of the rich West. In this exhibition, twenty-four paintings on handmade paper and cardboard prototypes of works by artists such as the creator of the project Gabriele Amadori, Giuseppe Spagnulo (1936-2016), Rodolfo Aricò (1930-2002), Davide Cantoni (b. 1965), Angela Glajcar (b. 1970), Hans Hermann (1858 – 1942) and Daniele Nitti Sotres (b. 1977) were exhibited. Some of the installations were created by the students of Gabriele Amadori, then professor of scenography at the Polytechnic of Milan. The concert “Song Papier” was written and directed by the jazz music master Enrico Intra who directed an ensemble composed of the students’ choir of the Polytechnic and percussionists (seven members of the “Scuola Civica di Jazz” of Milan and seven neophytes of the Polytechnic) engaged in playing paper objects, deliberately chosen among objects of common use, in homage to the philosophy of John Cage who said: “Everything is music”. They were then joined by the voice of Luana Tallarita and the choreography and dance of Irene Stellini, accompanied by the brush strokes of Silvio Ferragina and Gabriele Amadori.\r The performance begins with seven sheets of paper placed in front of seven performers (men and women) who in turn wear clothes made of paper. Next to them, there is a group of percussionists (on the left), and a group of female choristers also dressed in clothes made of paper (on the right). At first, a female dancer, Irene Stellini, begins to perform, also clad in a dress made of paper with special cut strips, which sway to the rhythm of the notes played on the piano by jazz musician Enrico Intra. Silvio Ferragina then begins to calligraph with a brush and black ink on the seven sheets of paper placed in front of the performers. The characters he realized in zhuanshu are “meiyou shenfen没有身分” (lit. there is no identity). The Chinese word shenfen (identity, status, capacity) is used by the artist to express the concept conveyed by the exhibition itself, namely the search for identity and a place in society by the “sans papier”. At a later stage, the artist Gabriele Amadori enters the scene and begins to paint some horizontal lines of vermilion red on the sheets of paper previously calligraphed by Silvio, giving life to a mix of black and red lines and graphic signs. At a third stage, Gabriele Amadori begins to paint with blue paint on the paper clothes worn by the seven performers and with white paint on the clothes worn by the choral group. Silvio Ferragina joins again and begins to calligraph on the clothes of the choristers, but with black ink. At this point, the two artists return to painting on the sheets of paper, mixing the black ink and the red paint on the paper support again. At the end, the singer Luana Tallarita performs dressed in black and gold, accompanying the movements of the dancer Irene Stellini.\r Using paper as a symbolic material, these events explored the hopes and contradictions of the “sans papier,” offering a space for artistic expression that transcends cultural barriers. The synergy between calligraphy, dance, and music created an immersive environment, engaging the audience in a multisensory experience. The works of Silvio Ferragina and Gabriele Amadori, enriched by the dance of Irene Stellini and the voice of Luana Tallarita, demonstrated how art can engage with contemporary themes, stimulating a profound reflection on identity and integration.\r In this context, the performance was not only a moment of entertainment but also a platform for discussion and exploration of the challenges faced by migrants in modern society. The fusion of different art forms thus created new narratives that invite a more empathetic understanding of human experiences, highlighting the importance of collaboration and creativity in building an inclusive future.\r \r """@en ; write:hasMusicStyle ; write:hasPerformingArtworkType ; write:hasUnit , ; sch:image ; write:madeUsingTool wd:Q614467 . a wd:Q7725310 ; wdt:P1071 , ; wdt:P1476 "Writing Music – Silent Melodies (写乐·无声之歌)"@en, "Calligrafie musicali – Melodie silenti"@it, "写乐·无声之歌"@zh, "Xiě yuè · wúshēng zhī gē"@zh-Latn ; wdt:P170 ; wdt:P580 "2018"^^xsd:gYear ; wdt:P582 "2023"^^xsd:gYear ; sch:thumbnailUrl , , ; write:description """This series is composed of three different types of works: 1. paper folding books hung as long vertical scrolls or displayed as accordion fold album (2018, 2023); 2. big vertical scrolls in plastics (2018, 2023); 3. small square works in ink on paper (2018). \r In all of these works Luo Qi transcribes famous Italian arias, operas and songs using the oldest Chinese musical notation system, the "Dunhuang Musical Notation System" (Dunhuang qupu / yuepu 敦煌曲谱/乐谱). This system dating back to the 10th century consists of twenty symbols derived from ancient characters, traditionally used for notating the tablature for the pipa (Chinese lute). These symbols are reshaped according to the artist's personal and original interpretation, in a way that these musical compositions are transformed into a “visual and visible musical score,” strongly rhythmic and dynamic, with an inextricably calligraphic thread. \r Among the 12 paper folding books hung as long vertical scrolls (2018), six are inspired by famous Italian operas, (“Rigoletto”, “La traviata”, “Turandot”, “Otello”, “Tosca” and “Madama Butterfly”), and the others are inspired by 6 famous Italian songs (“Santa Lucia”, “’O sole mio”, “Mamma”, “Torna a Surriento”, “Volare” and “Core ‘ngrato”). In addition to these 12 paper folding books, in 2023 Luo Qi also created two small folding books inspired by "The Barber of Seville" to be displayed as accordion fold albums.\r In 2018 Luo Qi created 3 big vertical scrolls in plastic inspired by three famous Italian arias, which are “Se l'aura spira” by Girolamo Frescobaldi (1583 –1643), “Pur dicesti, o bocca bella” by Antonio Lotti (1667 – 1740) and “Amarilli, mia bella” by Giulio Caccini (1546-1618). These works are made of white acrylic paint on plastic sheets. In 2023 he realized again the same pieces, using white and black acrylic paint on plastic sheets.\r Among the 20 small square works in ink on paper (2018), six are inspired by famous italian operas: “La donna è mobile” from Rigoletto by Verdi, “Turandot” by Puccini, “Un bel dì, vedremo” from Madama Butterfly by Puccini, “Vissi d’arte” from Tosca by Puccini, “Sì. Mi chiamano Mimì” from Bohème by Puccini, and “O Mio Babbino Caro” from Gianni Schicchi by Puccini; one is inspired by a famous Neapolitan song "’O sole mio” by Giovanni Capurro, Eduardo di Capua e Alfredo Mazzucchi, and other famous arias of the 17th and 18th centuries, such as “Danza, danza, fanciulla gentile” and “Vergin, tutto amor” by Francesco Durante (1684-1755), “Per la gloria d’adorarvi” by Giovanni Bononcini (1670-1747), “Sebben crudele” by Antonio Caldara (1670-1736), “Lasciar d’amarti” and “Caro laccio, dolce nodo” by Francesco Gasparini (1668-1727), “Ombra mai fu” and “Lascia ch'io pianga” by Georg Friedrich Händel (1685-1759), “Pur dicesti, o bocca bella” by Antonio Lotti (1667-1740), “Consolati, e spera” and “Le violette” by Alessandro Scarlatti (1660-1725), “Tu lo sai” by Giuseppe Torelli (1658-1709), and a more recent “Serenata” by Enrico Toselli (1883-1926). \r \r There are two other series related to these works: the first is "Preface about the Dunhuang Musical Notation System” (Dunhuang qupu tiji 敦煌曲谱题记), which consists of eight pieces in which the artist illustrates the "Dunhuang musical manuscripts", the notation system they employ, and the genesis of the exhibited works inspired by them. The second is “Notes on Dunhuang Musical Notation System” (Dunhuang qupu biji 敦煌曲谱笔记), comprising 20 works in which the artist transcribes 20 of the 25 melodies from the Dunhuang P.3808 manuscript. This series represents an interpretative rewriting, where he applies his personal style to the symbols that form the Dunhuang notation system.\r \r The vertical folding books and the plastic sheets with white acrylic were displayed for the first time during the exhibition "The Music of Ink - Calligraphies by Luo Qi and Silvio Ferragina in dialogue with the Chinese archive collection of the Braidense Library" held in 2018 at the National Braidense Library. The 20 small square works were displayed for the first time during the exhibition "Luo Qi: Writing Music" held in 2019 at the University Library of Bologna. The two small folding books and the plastic sheets with black and white acrylics were realized for the exhibition "Sounds of Ink: Luo Qi and Thirty Years of Calligraphyism" held in 2023 at the International Museum of Music in Bologna. """ ; sch:image , , ; write:includesArtwork , , , . a wd:Q184485 ; wdt:P1132 1 ; wdt:P1476 "Writing the 'Orchid Pavilion Preface' One Thousand Times (重复书写一千遍兰亭序)"@en, "重复书写一千遍 '兰亭序'"@zh, "Chóngfù shūxiě yī qiān biàn 'Lántíng xù'"@zh-Latn ; wdt:P175 ; wdt:P180 , , , ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P276 ; wdt:P585 "1990"^^xsd:gYear, "1995"^^xsd:gYear ; wdt:P608 , ; sch:thumbnailUrl ; write:calligrapher ; write:createsArtwork ; write:description """In this performance, Qiu Zhijie decides to devote himself to copying the work "Lanting xu 兰亭序" (Orchid Pavilion Preface) composed by Wang Xizhi in 353 AD. Qiu Zhijie repeatedly copies the work a thousand times on the same piece of rice papersheet. Repeatedly writing over his free-hand interpretation of the original, Qiu turns the paper into a saturated black field. By focusing on the process of writing rather than on its literary content, Qiu asserts that the ultimate goal of calligraphic practice is a form of "written meditation".\r By continuing to overwrite, even once the surface is completely blackened, Qiu Zhijie arrives at the total annihilation of the work, its non-existence. In this way, Qiu underlines how the work can not be viewed, like a tangible document, but it resides only in the memory and imagination of individuals who have handed it down. Calligraphy becomes a metaphor for social orthodoxy and cultural reproduction, reducing culture to a mere mechanical practice, in which there is no possibility of criticism and renewal.\r Qiu Zhijie also carries out a very similar operation in another performance entitled "Heart Sutra" (Xin jing 心 经, 1999), copying the ancient Buddhist text of the Heart Sutra. In this performance, Qiu Zhijie copies the work hundred times until the page is completely obscured. Here the artist wonders about the veracity and reliability of a translated text (from Sanskrit) like the Chinese Heart Sutra that represents a fundamental text for the spread of Chan Buddhism in China.\r \r """@en ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image , ; write:madeUsingTool wd:Q614467 . a wd:Q464980 ; wdt:P10661 , , , , , ; wdt:P1476 "Ink Art: Past as Present in Contemporary China"@en ; wdt:P276 , ; wdt:P580 "2013-12-11"^^xsd:date ; wdt:P582 "2014-04-06"^^xsd:date ; write:description """"Ink Art" constitutes the first major exhibition of Chinese contemporary art ever mounted by the Metropolitan Museum of Art. Installed within the Museum’s permanent galleries of Chinese art, the exhibition offers a critical investigation into how contemporary works from a non-Western cultural context may be presented within an encyclopedic museum. The selected artworks are not approached as a radical departure from tradition, but rather as part of a continuous cultural and historical lineage deeply embedded in Chinese artistic practice.\r While these works may also be interpreted through the lens of global contemporary art, the exhibition demonstrates that a reading grounded in Chinese historical artistic paradigms reveals additional layers of meaning and cultural significance that might otherwise remain obscured. The curatorial framework thus deliberately integrates transnational perspectives with culturally specific interpretations, suggesting that both viewpoints are essential to a more nuanced understanding of the artists’ creative processes.\r For more than two millennia, ink has served as the principal medium of painting and calligraphy in China. Since the early twentieth century, however, the primacy of the “ink art” tradition has been increasingly challenged by artistic practices and media introduced from the West. Ink Art examines the work of a selected group of Chinese artists active from the 1980s to the present, whose practices have fundamentally transformed inherited traditions while maintaining an underlying identification with the expressive language of China’s artistic past.\r The exhibition features approximately seventy works by thirty-five artists, encompassing a wide range of media, including painting, calligraphy, photography, woodblock printing, video, and sculpture, all produced over the past three decades. Organized into four thematic sections—The Written Word, New Landscapes, Abstraction, and Beyond the Brush—the exhibition highlights diverse strategies of reinterpretation, subversion, and expansion of traditional models. Ultimately, Ink Art affirms that China’s long-standing paradigm of cultural renewal through the reengagement with historical forms remains a vital and productive creative trajectory in contemporary artistic practice.""" ; write:exhibitedArtwork , , , , , . a wd:Q7725310 ; wdt:P1071 ; wdt:P1476 "Uterus Series (子宫系列)"@en, "子宫系列"@zh, "Zǐgōng xìliè"@zh-Latn ; wdt:P170 ; wdt:P580 "2020"^^xsd:gYear ; wdt:P582 "2022"^^xsd:gYear ; sch:thumbnailUrl ; write:description """The "Uterus Series" (Zigong xilie 子宫系列) takes place between 2020 and 2022. The series is a performative action composed of different performances that use calligraphy as a means of expression. Each performance tells a different female story: Wu Xixia writes Chinese characters while she is inside a hermetic transparent plastic sphere that symbolizes the mother's womb. As the performance progresses, the amount of oxygen is gradually depleted, until the sphere fills only with carbon dioxide. At that point, the artist requests that the sphere be broken before suffocating. The nightgown and bruises on her body, represent the state of domestic violence that women have been subjected to for thousands of years by men. “Writing” is an important symbol for this series and the use of different styles and brushes has specific meanings. \r Before this series, the artist experiments with different media to explore the issue of gender. At first, the artist wraps her body and women objects with plastic film to express the concept of "suffocation" [e.g. “Plastic Women Series" (Su nu xilie 塑女系列) 2015-2018] then in 2021 she started using hermetic spheres during her performances, such as:\r \r 1) "I" (Wo 我, 2020) in which Wu Xixia carries out a reflection on women and herself, writing the labels of society’s goodwill and malice towards women in red paint, such as "whore" (biao zi 婊子) "old maid" (lao chunu 老处女), "good wife and loving mother" (xian qiliang mu 贤妻良母), "green tea bitch (luchabiao 绿茶婊), "teenage girl" (yunu 玉女), "white lotus" (bailian hua 白莲花), etc. Through this performance, she wants to answer questions such as: "Who are women? And who am I? Is my gender determined by birth or is it given by society? There is a womb here, but where is the "mother"?". Having been rejected by her family at the time of her birth as a female, she has been questioning her gender throughout her formative years, and the social labels she writes about are an attempt to reconcile herself with her gender identity (see the archive).\r \r 2)"Writing the Orchid Pavilion One Time" (Shuxie Lanting Xu yi bian 书写兰亭序一遍, 2021) in which calligraphy becomes an important symbol of the patriarchy. In this performance, the famous twenty different forms of zhi 之 character present in the original "Orchid Pavilion Preface" by Wang Xizhi are replaced by Wu Xixia with red images of male phalluses. The zhi 之 character, that is one of the most important in Chinese masculine calligraphic tradition, is used by Wu Xixia as a symbol of order and authority (quanwei 权威) (see the archive).\r \r 3) "Writing the Orchid Pavilion for the Second Time" (Shuxie Lanting Xu di er bian 书写兰亭序第二遍, 2022) in which calligraphy again becomes a patriarchal symbol. Previously, on the inflatable outer part of the perimeter surrounding the sphere, ideomatic phrases were written such as: "chi bao cheng 吃饱撑" (having nothing better to do); "xingwei yishu 行为艺术" (performance art); "huazhong quchong 哗众取宠" (try to please the public with claptrap), etc. In this case, Wu Xixia writes inside an airtight sphere placed in the water and the character "ye 也" is replaced with the image of female vagina. Wu Xixia also writes some larger characters in "nüshu 女书" (women's script), a syllabic script derived from Chinese characters that was used exclusively among women in Jiangyong County in Hunan province of southern China. Using this characters' form, she wants to counterbalance the male predominance of Chinese writing with the female writing of nüshu 女书 (see the archive). \r \r 4) "Darling" (2021) in which Wu Xixia performs in front of a building called "Darling". The building was covered with red ribbons, which spread all the way to the inflatable ball. Wu Xixia writes the words "jiu jiu wo 救救我" (help me); "qiuqiu ni 求求你" (I beg you), "bie sha wo 别杀我" (don't kill me); "bie S wo 别S我" (don't fuck me), etc. inside the hermetic sphere. During the performance, passers-by, especially men, took photos with various poses and angles nearby. In this “public act”, the female body transforms into an object of desire and “objectification” through the male gaze. For over 40 minutes, the artist lies still on the ground, inviting the audience's scrutiny while she begins to write down pleas for help (see the archive).\r \r 5) "Right" (Zhengque 正确, 2021) where Wu Xixia invites the audience to write what they think is "right" outside the ball, while the artist repeatedly writes inside the ball the two characters "zhengque 正确" using the "large character calligraphy style" (da zi shuti 大字书体) until she is completely "enveloped" by the two characters. In this work, the acrylic paints and characters that read "Please write down what you think is right" on the ground attracted the attention of many viewers. Audiences of different ages and genders wrote words such as "justice" (zhengyi 正义) and "love" (ai 爱) on the outside of a transparent airtight ball, and the artist inside the ball repeatedly wrote the word "correct" with red paint. The use of the large character calligraphy style also implies the existence of authority. The artist wants to focus on presenting the "gender troubles" in contemporary society. "How to define what is right?" and "Who defines what is right?" become the explicit themes of the performance, and the artist's gaze and being stared at become the invisible themes behind it.\r \r 6) "Letter to Mom" (Yu mu shu 与母书, 2022) in which Wu Xixia interacts with twenty children. Before starting the performance, the artist guides the children to think and create characters or drawings, randomly combining images relating to figures or names that recall moments with their mother. The aim is to create a language that belongs only to the children and their mothers, and then write it outside the sphere. At the same time, Wu Xixia writes the Chinese character "ma 妈" (mother) inside the sphere in the traditional form.\r \r 7) “Opposite/Image” (Dui/Xiang 对/像, 2023) where she is inside a hermetic red cube made of plastic and invites viewers to come closer to trace the outline of their body on the external surface of the cube. In the meantime, Wu Xixia composes the two characters “dui 对” and “xiang 像” on the inner surface of the sphere while observing what happens externally.\r \r 8) “Confrontation” (Duihua 对话, 2023) which takes place at the “17th Macau International Live Art Festival (MIPAF)” (Di shiqi jie Aomen guoji xianchang yishu jie 第十七届澳门国际现场艺术节 - MIPAF), where Wu Xixia begins to write on a red humanoid mannequin with a brush the white characters “human” (ren 人) and “art” (yishu 艺术) to “give life” to it, announcing the beginning of the confrontation (see the archive).\r \r 9) “Silencer” (Xiaoyin 消音, 2023) where the artist writes a series of words in an inflatable sphere and recites them through a loudspeaker, inviting spectators on site (both kids and adults) to participate.\r Wu Xi Xia wrote about many women's secrets and the shame that keeps them "silenced". She collected some anonymous and shameful experiences of women not being accepted by society and wrote them into the sphere (see the archive).\r \r Some of these spheres then became part of the installation exposed in Beijing in 2021 in occasion of the "Xixia Wu Personal Art Exhibition" (Wu Xixia ge zhan 吴析夏个展 - December 6 to 20, 2021) called "Her Mountain" (Ta shan 她山, see the archive). In this installation, Wu Xixia creates a "mountain of blood" full of symbols linked to childbirth and the female womb (such as some foetuses lying in red wedges) to talk about gender issues in contemporary society. The form of the entire installation is combined with the Da Henggin Mountain 大横琴山 and Xiao Hengqin Mountain 小横琴山 visible behind the glass windows (two mountain ranges of Hengqin Island, in Zhuhai, Guangdong Province) visible behind the glass windows. Just as gravel collects in a mountain range, women form a "group". The red-flecked stainless steel flowers blooming on "Her-Mountain" represent the "blossoming" of spiritual consciousness. In the installation, there are also the three closed spheres resulting from the three feminist-themed performative works realized by Wu Xixia: "I" (Wo 我) a work that reconciles personal identity and gender; "Darling", a work on the fearless examination of women (of this work there is also a screen with the photo/video of the performance in progress); and "Writing the Orchid Pavilion Preface One time" (Shuxie Lanting Xu yi bian 书写兰亭序一遍) which attempts to break the traditional rules of Chinese calligraphy. The three independent spheres and the surrounding red mountains, that represent respectively the "individuals" and the "groups", complement each other, presenting a utopia in which the "self" (inner world) and the whole (external world) "bloom" in the process of awakening the female consciousness.\r \r Wu Xixia’s artistic practise strongly evokes that of Zhu Ming 朱冥 (b.1972), a key figure in the renowned East Village group and a central participant in the performance “Adding Another Meter to an Anonymous Mountain” (Wei wuming shan zenggao yi mi 为无名山增高一米, 1995). Zhu Ming, from 1994 to 2014, both in China and Western cities, created several performances by blowing into transparent plastic spheres and then entering them, experiencing suffocation; sometimes he also writes words and letters inside the spheres. Many of these performances are also performed in water. """@en ; sch:image ; write:includesArtwork , , , , , , . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Wei Ligang 魏立刚" ; wdt:P27 ; wdt:P569 "1964"^^xsd:gYear ; wdt:P800 , , , ; wdt:P812 ; wdt:P937 ; write:description """In his career of three decades, Wei Ligang (b. 1964) has sought a universal language of abstraction based on the linear and spatial compositions of Chinese writing, a language capable of embodying the complexity and expansiveness of contemporary human knowledge and existence. His signature “magic squares,” which preserve the structure and strokes of Chinese characters and hark back to the pictographic origins of Chinese writing, are one of the earliest examples of a distinctly personal language in contemporary Chinese art. Wei Ligang generalizes the continuous cursive calligraphy of the 17th-century Shanxi calligrapher Fu Shan, applying it to the seal, clerical, and Oracle Bone scripts of antiquity to create the distinctive script styles of epigraphic mad cursive, “gold-ink cursive,” and “shadow cursive.” Wei Ligang is also the author of a celebrated body of calligraphy-informed abstract paintings.\r Wei Ligang’s art is a unique fusion of systematic thought and sensibility, delicacy and spirituality, exoticism and naturalness. His wide-ranging inspirations include ancient Egyptian hieroglyphs, industrial civilization and modern machines, European castles and palaces, contemporary physics and astronomy, and the structures of animals and plants. He employs the bright colors of gold, red, and blue, and uses acrylic paints to increase substance and texture. In these respects his art differs from traditional Chinese calligraphy, which typically is monochrome and privileges fluency.\r Wei Ligang was born in Datong, the first capital of the Northern Wei Dynasty (386-534) and home to the famous Buddhist grotto shrines of Yungang, which instilled in him a fondness for the grandeur of Han and Tang-dynasty art. Wei’s father, an art-loving railroad worker, inspired his interest in mechanics and calligraphy. At age 17, Wei entered the mathematics department of Nankai University, where he honed his logical and analytical skills. As President of the university calligraphy society, he came under the mentorship of the local masters Li Henian (1912-2000), Wang Xuezhong (1925-2013), and Sun Boxiang (1934-) in classical poetry and epigraphic scripts. Wang Xuezhong, an early pioneer of Modern Calligraphy, was especially influential to Wei.\r After graduating from Nankai in 1985, Wei Ligang became a teacher at a normal school in Taiyuan and immersed himself in the legacy of Fu Shan, a fellow Shanxi native. In 1995, he relocated to the Old Summer Palace in Beijing as a professional artist, and thereafter increasingly engaged with abstract painting and international contemporary art. Over the 90’s, Wei gained prominence as a young pioneer of Modern Calligraphy, participating and organizing a number of influential exhibitions in the field, including Bashu Parade: A Review of China Modern Calligraphy At The End of 20th Century in 1999 in Chengdu. A committed educator and the founder of the International Shuxiang Society, he believes that Chinese calligraphy will reach an unprecedented height within this generation. He aims to develop “writing” (shuxie) into an art form capable of embodying all phenomena and things in the universe and a way to construct “pure structure itself.”\r Wei Ligang was the recipient of the 2005 Asian Cultural Council Dr. Joseph K. W. Li Arts Fellowship. His works are in the collections of the Asian Art Museum, San Francisco; British Museum; Cernuschi Museum, Paris; Bill and Melinda Gates Foundation, Seattle; National Museum of China, Beijing; National Art Museum of China, Beijing; François-Henri Pinault Family, France; San Francisco Museum of Modern Art; among others."""@en ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:hasWikidataResource . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Fung Ming Chip 冯明秋" ; wdt:P27 ; wdt:P569 "1951"^^xsd:gYear ; wdt:P800 , , , , , ; wdt:P937 , , ; sch:thumbnailUrl ; write:description """Fung Ming Chip was born in Guangdong in 1951 and moved to Hong Kong in 1956 where he received only primary education before moving to New Jersey in 1977. His passion for seal carving started in New York in 1975, and this allowed him to broaden his horizons subsequently to calligraphy, studying as a self-taught. He moved to Taiwan in 1986 and finally in 2006 to Hong Kong, where he now lives and works; there he opened his art studio “Sibuguan 四 不管 Four no studio” in an area of the city called Sai Ying Pun.\r Fung Ming Chip is a poet, a seal carver and a calligrapher.\r His seal production can be divided into three phases: 1) carving stone seals on the basis of traditional models; 2) carving wooden boards; 3) creation of three-dimensional bronze sculptures. At a later time, Fung Ming Chip decided to study and practice calligraphy in order to discover everything that was hidden inside it, seeking its deep meaning and interpreting calligraphy as an artistic medium. In 1996 Fung Ming Chip began experimenting with calligraphy, creating over one hundred new calligraphic “script types” (xiefa 写法). These new “script types” have their own visual language and creative process, breaking with traditional concepts of calligraphy and allowing the viewer to observe calligraphy through a new perspective. The calligraphic production of Fung Ming Chip can be categorized according to three parameters: 1) the degree of legibility of the transcribed text, 2) the use of ink and 3) the spatial arrangement.\r Among his many international exhibitions, Fung had a major solo retrospective at the Taipei Fine Arts Museum in 1999. He was artist in residence at Cambridge University, and his work is included in major private and institutional collections around the world, including The Metropolitan Museum of Art, New York, White Rabbit Collection, Sydney and Israel Museum, Jerusalem. He has also been active as a painter, photographer, and sculptor. In 2008, he created Les Poemes du Mandarin tableware pattern for Hermes.\r The calligraphic production of Fung Ming Chip can be categorized according to three parameters: 1) the degree of legibility of the transcribed text, 2) the use of ink and 3) the spatial arrangement.\r 1. Legibility: Fung Ming Chip creates artworks in which characters are completely, partially or not recognizable. In the first case, the artist does not detach himself from traditional calligraphy, he traces the characters in full; in the second case characters are partially traced, even if it is still possible to reconstruct them and/or extrapolate their meaning; in the third case the legibility of the characters is compromised, because they are not recognizable, it only remains signs of the characters, approaching a more abstract art.\r 2. The use of ink: by means of the dilution of ink, the artist creates new calligraphic “script types”. By using brush, water, ink and paper, he tries to experiment with different techniques with the aim of stimulating the viewer mind.\r 3. The spatial arrangements: Fung Ming Chip breaks down the setting traditional spatial arrangement, exploring new possibilities to expand or reshape the “space and time” elements present in his art.\r These three categories are not used always separately, each of them creates new calligraphic “script types” that sometimes are used together in the same work. These continuous experiments demonstrate the intent of Fung Ming Chip to always go further, through his creativity and imagination."""@en ; write:hasCalligraphicTraining "Self-Taught"@en ; write:hasWikidataResource ; sch:image ; write:isDesignerOf . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Jessie Yingying Gong 龚颖颖" ; wdt:P27 ; wdt:P569 "1990-10-14"^^xsd:date ; wdt:P800 , , , , , , , ; wdt:P812 ; wdt:P937 , ; write:description """Having been born and raised in China (Jiansu) before setting out to study and live in Europe; prompted in Jessie a lasting fascination with the topics of memory, identity, symbols and language. She is currently developing a series of works regarding the form, materialization and development of language. The research into these aspects of language, with a focus on the written forms, leads her to a kind of archaeology of symbolism, that serves to chronicle our history on a multitude of levels.\r Jessie studied in London College of Communication and Gerrit Rietveld Academie in Amsterdam. She has completed several artist residencies, and been awarded Young Talent and Artist Project contributions from Mondriaan Fonds. She actively participates in international exhibitions; her work has been to Venice Biennale, Beijing Photo Biennale, MAXXI, Art Rotterdam, W139, etc. Jessie is based in Amsterdam and Shanghai."""@en ; write:hasCalligraphicTraining "Present (not specified)"@en . a wd:Q7725634 ; wdt:P1476 "Zhuangzi - Wandering Beyond (庄子·逍遥游)"@en, "庄子·逍遥游"@zh, "Zhuāngzǐ - Xiāoyáo yóu"@zh-Latn ; wdt:P1480 ; wdt:P50 ; wdt:P571 "-0300"^^xsd:gYear ; write:description """The Zhuangzi (庄子) is one of the two foundational texts of Daoism, alongside the Book of the Way and of Virtue (Daodejing 道德经). The work takes its title from Zhuangzi (369 - 286 BCE), the philosopher traditionally credited as its author. He lived during the Warring States period and shaped early Daoist thought. \r Zhuangzi consists of thirty-tree chapters divided into three parts. The first part includes seven "Inner Chapters": "Wandering Beyond" (Xiaoyao you 逍遥游), "On the Equality of Things" (Qi wu lun 齐物论), "Nourishing the Lord of Life" (Yangsheng zhu 养生主), "The Human World" (Renjian shi 人间世), "The Seal of Virtue Complete" (De chong fu 德充符), "The Great and Most Honoured Master" (Da zongshi 大宗师), "The Normal Course for Rulers and Kings" (Ying diwang 应帝王). The second part consists of fifteen "Outer Chapters". These include "Webbed Toes" (Pian mu 骈拇), "Horses’ Hoofs" (Mati 马蹄), "Cutting open Satchels" (Qu qie 胠箧), "Letting Be, and Exercising Forbearance" (Zai you 在宥), "Heaven and Earth" (Tian di 天地), "The Way of Heaven" (Tiandao 天道), "The Revolution of Heaven" (Tian yun 天运), "Ingrained Ideas" (Ke yi 刻意), "Correcting the Nature" (Shan xing 缮性), "The Floods of Autumn" (Qiu shui 秋水), "Perfect Enjoyment" (Zhi le 至乐), "The Full Understanding of Life" (Da sheng 达生), "The Tree on the Mountain" (Shan mu 山木), "Tian Zifang" (Tian Zifang 田子方), and "Knowledge Rambling in the North" (Zhi bei you 知北游). \r The third part includes includes eleven "Miscellaneous Chapters" (za pian 杂篇). These are "Geng-sang Chu" (Geng sang chu 庚桑楚), "Xu Wu-gui" (Xu wuhui 徐无鬼), "Ze-yang" (Zeyang 则阳), "What comes from Without" (Wai wu 外物), "Metaphorical Language" (Yuyan 寓言), "Kings who have wished to resign the Throne" (Rang wang 让王), "The Robber Zhi" (Dao zhi 盗跖), "Delight in the Sword-fight" (Shuo jian 说剑), "The Old Fisherman" (Yu fu 渔父), "Lie Yu-kou" (Lie Yukou 列御寇), "Tian Xia" (Tianxia 天下). \r English translation of the titles of the chapters follow J. Legge's translation. The transcription and translation above refer only to "Wandering Beyond", the first chapter of the Zhuangzi. The English translation of this chapter is also by J. Legge. \r """@en ; write:transcriptionAndTranslation """In the Northern Ocean there is a fish, the name of which is Kun - I do not know how many li in size. It changes into a bird with the name of Peng, the back of which is (also) - I do not know how many li in extent. When this bird rouses itself and flies, its wings are like clouds all round the sky. When the sea is moved (so as to bear it along), it prepares to remove to the Southern Ocean. The Southern Ocean is the Pool of Heaven.\r There is the (book called) Qi Xie, a record of marvels. We have in it these words: 'When the peng is removing to the Southern Ocean it flaps (its wings) on the water for 3000 li. Then it ascends on a whirlwind 90,000 li, and it rests only at the end of six months.' (But similar to this is the movement of the breezes which we call) the horses of the fields, of the dust (which quivers in the sunbeams), and of living things as they are blown against one another by the air. Is its azure the proper colour of the sky? Or is it occasioned by its distance and illimitable extent? If one were looking down (from above), the very same appearance would just meet his view.\r And moreover, (to speak of) the accumulation of water; if it be not great, it will not have strength to support a large boat. Upset a cup of water in a cavity, and a straw will float on it as if it were a boat. Place a cup in it, and it will stick fast; the water is shallow and the boat is large. (So it is with) the accumulation of wind; if it be not great, it will not have strength to support great wings. Therefore (the peng ascended to) the height of 90,000 li, and there was such a mass of wind beneath it; thenceforth the accumulation of wind was sufficient. As it seemed to bear the blue sky on its back, and there was nothing to obstruct or arrest its course, it could pursue its way to the South.\r A cicada and a little dove laughed at it, saying, 'We make an effort and fly towards an elm or sapanwood tree; and sometimes before we reach it, we can do no more but drop to the ground. Of what use is it for this (creature) to rise 90,000 li, and make for the South?' He who goes to the grassy suburbs, returning to the third meal (of the day), will have his belly as full as when he set out; he who goes to a distance of 100 li will have to pound his grain where he stops for the night; he who goes a thousand li, will have to carry with him provisions for three months. What should these two small creatures know about the matter? The knowledge of that which is small does not reach to that which is great; (the experience of) a few years does not reach to that of many. How do we know that it is so? The mushroom of a morning does not know (what takes place between) the beginning and end of a month; the short-lived cicada does not know (what takes place between) the spring and autumn. These are instances of a short term of life. In the south of Chu there is the (tree) called Ming-ling, whose spring is 500 years, and its autumn the same; in high antiquity there was that called Da-chun, whose spring was 8000 years, and its autumn the same. And Peng Zu is the one man renowned to the present day for his length of life: if all men were (to wish) to match him, would they not be miserable?\r \r n the questions put by Tang to Ji we have similar statements: 'In the bare and barren north there is the dark and vast ocean - the Pool of Heaven. In it there is a fish, several thousand li in breadth, while no one knows its length. Its name is the kun. There is (also) a bird named the peng; its back is like the Tai mountain, while its wings are like clouds all round the sky. On a whirlwind it mounts upwards as on the whorls of a goat's horn for 90,000 li, till, far removed from the cloudy vapours, it bears on its back the blue sky, and then it shapes its course for the South, and proceeds to the ocean there.' A quail by the side of a marsh laughed at it, and said, 'Where is it going to? I spring up with a bound, and come down again when I have reached but a few fathoms, and then fly about among the brushwood and bushes; and this is the perfection of flying. Where is that creature going to?' This shows the difference between the small and the great.\r \r Thus it is that men, whose wisdom is sufficient for the duties of some one office, or whose conduct will secure harmony in some one district, or whose virtue is befitting a ruler so that they could efficiently govern some one state, are sure to look on themselves in this manner (like the quail), and yet Rongzi of Song would have smiled and laughed at them. (This Rongzi), though the whole world should have praised him, would not for that have stimulated himself to greater endeavour, and though the whole world should have condemned him, would not have exercised any more repression of his course; so fixed was he in the difference between the internal (judgment of himself) and the external (judgment of others), so distinctly had he marked out the bounding limit of glory and disgrace. Here, however, he stopped. His place in the world indeed had become indifferent to him, but still he had not planted himself firmly (in the right position). There was Liezi, who rode on the wind and pursued his way, with an admirable indifference (to all external things), returning, however, after fifteen days, (to his place). In regard to the things that (are supposed to) contribute to happiness, he was free from all endeavours to obtain them; but though he had not to walk, there was still something for which he had to wait. But suppose one who mounts on (the ether of) heaven and earth in its normal operation, and drives along the six elemental energies of the changing (seasons), thus enjoying himself in the illimitable - what has he to wait for? Therefore it is said, 'The Perfect man has no (thought of) self; the Spirit-like man, none of merit; the Sagely-minded man, none of fame.'\r \r Yao, proposing to resign the throne to Xu You, said, 'When the sun and moon have come forth, if the torches have not been put out, would it not be difficult for them to give light? When the seasonal rains are coming down, if we still keep watering the ground, will not our toil be labour lost for all the good it will do? Do you, Master, stand forth (as sovereign), and the kingdom will (at once) be well governed. If I still (continue to) preside over it, I must look on myself as vainly occupying the place - I beg to resign the throne to you.' Xu You said, 'You, Sir, govern the kingdom, and the kingdom is well governed. If I in these circumstances take your place, shall I not be doing so for the sake of the name? But the name is but the guest of the reality; shall I be playing the part of the guest? The tailor-bird makes its nest in the deep forest, but only uses a single branch; the mole drinks from the He, but only takes what fills its belly. Return and rest in being ruler - I will have nothing to do with the throne. Though the cook were not attending to his kitchen, the representative of the dead and the officer of prayer would not leave their cups and stands to take his place.'\r \r Jian Wu asked Lian Shu, saying, 'I heard Jie Yu talking words which were great, but had nothing corresponding to them (in reality); once gone, they could not be brought back. I was frightened by them; they were like the Milky Way which cannot be traced to its beginning or end. They had no connexion with one another, and were not akin to the experiences of men.' 'What were his words?' asked Lian Shu, and the other replied, (He said) that 'Far away on the hill of Gu Ye there dwelt a Spirit-like man whose flesh and skin were (smooth) as ice and (white) as snow; that his manner was elegant and delicate as that of a virgin; that he did not eat any of the five grains, but inhaled the wind and drank the dew; that he mounted on the clouds, drove along the flying dragons, rambling and enjoying himself beyond the four seas; that by the concentration of his spirit-like powers he could save men from disease and pestilence, and secure every year a plentiful harvest.' These words appeared to me wild and incoherent and I did not believe them. 'So it is,' said Lian Shu. 'The blind have no perception of the beauty of elegant figures, nor the deaf of the sound of bells and drums. But is it only the bodily senses of which deafness and blindness can be predicated? There is also a similar defect in the intelligence; and of this your words supply an illustration in yourself. That man, with those attributes, though all things were one mass of confusion, and he heard in that condition the whole world crying out to him to be rectified, would not have to address himself laboriously to the task, as if it were his business to rectify the world. Nothing could hurt that man; the greatest floods, reaching to the sky, could not drown him, nor would he feel the fervour of the greatest heats melting metals and stones till they flowed, and scorching all the ground and hills. From the dust and chaff of himself, he could still mould and fashion Yaos and Shuns - how should he be willing to occupy himself with things?' A man of Song, who dealt in the ceremonial caps (of Yin), went with them to Yue, the people of which cut off their hair and tattooed their bodies, so that they had no use for them. Yao ruled the people of the kingdom, and maintained a perfect government within the four seas. Having gone to see the four (Perfect) Ones on the distant hill of Gu Ye, when (he returned to his capital) on the south of the Fen water, his throne appeared no more to his deep-sunk oblivious eyes.\r \r Huizi told Zhuangzi, saying, 'The king of Wei sent me some seeds of a large calabash, which I sowed. The fruit, when fully grown, could contain five piculs (of anything). I used it to contain water, but it was so heavy that I could not lift it by myself. I cut it in two to make the parts into drinking vessels; but the dried shells were too wide and unstable and would not hold (the liquor); nothing but large useless things! Because of their uselessness I knocked them to pieces.' Zhuangzi replied, 'You were indeed stupid, my master, in the use of what was large. There was a man of Song who was skilful at making a salve which kept the hands from getting chapped; and (his family) for generations had made the bleaching of cocoon-silk their business. A stranger heard of it, and proposed to buy the art of the preparation for a hundred ounces of silver. The kindred all came together, and considered the proposal. "We have," said they, "been bleaching cocoon-silk for generations, and have only gained a little money. Now in one morning we can sell to this man our art for a hundred ounces - let him have it." The stranger accordingly got it and went away with it to give counsel to the king of Wu, who was then engaged in hostilities with Yue. The king gave him the command of his fleet, and in the winter he had an engagement with that of Yue, on which he inflicted a great defeat, and was invested with a portion of territory taken from Yue. The keeping the hands from getting chapped was the same in both cases; but in the one case it led to the investiture (of the possessor of the salve), and in the other it had only enabled its owners to continue their bleaching. The difference of result was owing to the different use made of the art. Now you, Sir, had calabashes large enough to hold five piculs; why did you not think of making large bottle-gourds of them, by means of which you could have floated over rivers and lakes, instead of giving yourself the sorrow of finding that they were useless for holding anything. Your mind, my master, would seem to have been closed against all intelligence!'\r \r Huizi said to Zhuangzi, 'I have a large tree, which men call the Ailantus. Its trunk swells out to a large size, but is not fit for a carpenter to apply his line to it; its smaller branches are knotted and crooked, so that the disk and square cannot be used on them. Though planted on the wayside, a builder would not turn his head to look at it. Now your words, Sir, are great, but of no use - all unite in putting them away from them.' Zhuangzi replied, 'Have you never seen a wildcat or a weasel? There it lies, crouching and low, till the wanderer approaches; east and west it leaps about, avoiding neither what is high nor what is low, till it is caught in a trap, or dies in a net. Again there is the Yak, so large that it is like a cloud hanging in the sky. It is large indeed, but it cannot catch mice. You, Sir, have a large tree and are troubled because it is of no use - why do you not plant it in a tract where there is nothing else, or in a wide and barren wild? There you might saunter idly by its side, or in the enjoyment of untroubled ease sleep beneath it. Neither bill nor axe would shorten its existence; there would be nothing to injure it. What is there in its uselessness to cause you distress?'\r """@en, """In the Northern Ocean there is a fish, the name of which is Kun - I do not know how many li in size. It changes into a bird with the name of Peng, the back of which is (also) - I do not know how many li in extent. When this bird rouses itself and flies, its wings are like clouds all round the sky. When the sea is moved (so as to bear it along), it prepares to remove to the Southern Ocean. The Southern Ocean is the Pool of Heaven.\r There is the (book called) Qi Xie, a record of marvels. We have in it these words: 'When the peng is removing to the Southern Ocean it flaps (its wings) on the water for 3000 li. Then it ascends on a whirlwind 90,000 li, and it rests only at the end of six months.' (But similar to this is the movement of the breezes which we call) the horses of the fields, of the dust (which quivers in the sunbeams), and of living things as they are blown against one another by the air. Is its azure the proper colour of the sky? Or is it occasioned by its distance and illimitable extent? If one were looking down (from above), the very same appearance would just meet his view.\r And moreover, (to speak of) the accumulation of water; if it be not great, it will not have strength to support a large boat. Upset a cup of water in a cavity, and a straw will float on it as if it were a boat. Place a cup in it, and it will stick fast; the water is shallow and the boat is large. (So it is with) the accumulation of wind; if it be not great, it will not have strength to support great wings. Therefore (the peng ascended to) the height of 90,000 li, and there was such a mass of wind beneath it; thenceforth the accumulation of wind was sufficient. As it seemed to bear the blue sky on its back, and there was nothing to obstruct or arrest its course, it could pursue its way to the South.\r A cicada and a little dove laughed at it, saying, 'We make an effort and fly towards an elm or sapanwood tree; and sometimes before we reach it, we can do no more but drop to the ground. Of what use is it for this (creature) to rise 90,000 li, and make for the South?' He who goes to the grassy suburbs, returning to the third meal (of the day), will have his belly as full as when he set out; he who goes to a distance of 100 li will have to pound his grain where he stops for the night; he who goes a thousand li, will have to carry with him provisions for three months. What should these two small creatures know about the matter? The knowledge of that which is small does not reach to that which is great; (the experience of) a few years does not reach to that of many. How do we know that it is so? The mushroom of a morning does not know (what takes place between) the beginning and end of a month; the short-lived cicada does not know (what takes place between) the spring and autumn. These are instances of a short term of life. In the south of Chu there is the (tree) called Ming-ling, whose spring is 500 years, and its autumn the same; in high antiquity there was that called Da-chun, whose spring was 8000 years, and its autumn the same. And Peng Zu is the one man renowned to the present day for his length of life: if all men were (to wish) to match him, would they not be miserable?\r \r n the questions put by Tang to Ji we have similar statements: 'In the bare and barren north there is the dark and vast ocean - the Pool of Heaven. In it there is a fish, several thousand li in breadth, while no one knows its length. Its name is the kun. There is (also) a bird named the peng; its back is like the Tai mountain, while its wings are like clouds all round the sky. On a whirlwind it mounts upwards as on the whorls of a goat's horn for 90,000 li, till, far removed from the cloudy vapours, it bears on its back the blue sky, and then it shapes its course for the South, and proceeds to the ocean there.' A quail by the side of a marsh laughed at it, and said, 'Where is it going to? I spring up with a bound, and come down again when I have reached but a few fathoms, and then fly about among the brushwood and bushes; and this is the perfection of flying. Where is that creature going to?' This shows the difference between the small and the great.\r \r Thus it is that men, whose wisdom is sufficient for the duties of some one office, or whose conduct will secure harmony in some one district, or whose virtue is befitting a ruler so that they could efficiently govern some one state, are sure to look on themselves in this manner (like the quail), and yet Rongzi of Song would have smiled and laughed at them. (This Rongzi), though the whole world should have praised him, would not for that have stimulated himself to greater endeavour, and though the whole world should have condemned him, would not have exercised any more repression of his course; so fixed was he in the difference between the internal (judgment of himself) and the external (judgment of others), so distinctly had he marked out the bounding limit of glory and disgrace. Here, however, he stopped. His place in the world indeed had become indifferent to him, but still he had not planted himself firmly (in the right position). There was Liezi, who rode on the wind and pursued his way, with an admirable indifference (to all external things), returning, however, after fifteen days, (to his place). In regard to the things that (are supposed to) contribute to happiness, he was free from all endeavours to obtain them; but though he had not to walk, there was still something for which he had to wait. But suppose one who mounts on (the ether of) heaven and earth in its normal operation, and drives along the six elemental energies of the changing (seasons), thus enjoying himself in the illimitable - what has he to wait for? Therefore it is said, 'The Perfect man has no (thought of) self; the Spirit-like man, none of merit; the Sagely-minded man, none of fame.'\r \r Yao, proposing to resign the throne to Xu You, said, 'When the sun and moon have come forth, if the torches have not been put out, would it not be difficult for them to give light? When the seasonal rains are coming down, if we still keep watering the ground, will not our toil be labour lost for all the good it will do? Do you, Master, stand forth (as sovereign), and the kingdom will (at once) be well governed. If I still (continue to) preside over it, I must look on myself as vainly occupying the place - I beg to resign the throne to you.' Xu You said, 'You, Sir, govern the kingdom, and the kingdom is well governed. If I in these circumstances take your place, shall I not be doing so for the sake of the name? But the name is but the guest of the reality; shall I be playing the part of the guest? The tailor-bird makes its nest in the deep forest, but only uses a single branch; the mole drinks from the He, but only takes what fills its belly. Return and rest in being ruler - I will have nothing to do with the throne. Though the cook were not attending to his kitchen, the representative of the dead and the officer of prayer would not leave their cups and stands to take his place.'\r \r Jian Wu asked Lian Shu, saying, 'I heard Jie Yu talking words which were great, but had nothing corresponding to them (in reality); once gone, they could not be brought back. I was frightened by them; they were like the Milky Way which cannot be traced to its beginning or end. They had no connexion with one another, and were not akin to the experiences of men.' 'What were his words?' asked Lian Shu, and the other replied, (He said) that 'Far away on the hill of Gu Ye there dwelt a Spirit-like man whose flesh and skin were (smooth) as ice and (white) as snow; that his manner was elegant and delicate as that of a virgin; that he did not eat any of the five grains, but inhaled the wind and drank the dew; that he mounted on the clouds, drove along the flying dragons, rambling and enjoying himself beyond the four seas; that by the concentration of his spirit-like powers he could save men from disease and pestilence, and secure every year a plentiful harvest.' These words appeared to me wild and incoherent and I did not believe them. 'So it is,' said Lian Shu. 'The blind have no perception of the beauty of elegant figures, nor the deaf of the sound of bells and drums. But is it only the bodily senses of which deafness and blindness can be predicated? There is also a similar defect in the intelligence; and of this your words supply an illustration in yourself. That man, with those attributes, though all things were one mass of confusion, and he heard in that condition the whole world crying out to him to be rectified, would not have to address himself laboriously to the task, as if it were his business to rectify the world. Nothing could hurt that man; the greatest floods, reaching to the sky, could not drown him, nor would he feel the fervour of the greatest heats melting metals and stones till they flowed, and scorching all the ground and hills. From the dust and chaff of himself, he could still mould and fashion Yaos and Shuns - how should he be willing to occupy himself with things?' A man of Song, who dealt in the ceremonial caps (of Yin), went with them to Yue, the people of which cut off their hair and tattooed their bodies, so that they had no use for them. Yao ruled the people of the kingdom, and maintained a perfect government within the four seas. Having gone to see the four (Perfect) Ones on the distant hill of Gu Ye, when (he returned to his capital) on the south of the Fen water, his throne appeared no more to his deep-sunk oblivious eyes.\r \r Huizi told Zhuangzi, saying, 'The king of Wei sent me some seeds of a large calabash, which I sowed. The fruit, when fully grown, could contain five piculs (of anything). I used it to contain water, but it was so heavy that I could not lift it by myself. I cut it in two to make the parts into drinking vessels; but the dried shells were too wide and unstable and would not hold (the liquor); nothing but large useless things! Because of their uselessness I knocked them to pieces.' Zhuangzi replied, 'You were indeed stupid, my master, in the use of what was large. There was a man of Song who was skilful at making a salve which kept the hands from getting chapped; and (his family) for generations had made the bleaching of cocoon-silk their business. A stranger heard of it, and proposed to buy the art of the preparation for a hundred ounces of silver. The kindred all came together, and considered the proposal. "We have," said they, "been bleaching cocoon-silk for generations, and have only gained a little money. Now in one morning we can sell to this man our art for a hundred ounces - let him have it." The stranger accordingly got it and went away with it to give counsel to the king of Wu, who was then engaged in hostilities with Yue. The king gave him the command of his fleet, and in the winter he had an engagement with that of Yue, on which he inflicted a great defeat, and was invested with a portion of territory taken from Yue. The keeping the hands from getting chapped was the same in both cases; but in the one case it led to the investiture (of the possessor of the salve), and in the other it had only enabled its owners to continue their bleaching. The difference of result was owing to the different use made of the art. Now you, Sir, had calabashes large enough to hold five piculs; why did you not think of making large bottle-gourds of them, by means of which you could have floated over rivers and lakes, instead of giving yourself the sorrow of finding that they were useless for holding anything. Your mind, my master, would seem to have been closed against all intelligence!'\r \r Huizi said to Zhuangzi, 'I have a large tree, which men call the Ailantus. Its trunk swells out to a large size, but is not fit for a carpenter to apply his line to it; its smaller branches are knotted and crooked, so that the disk and square cannot be used on them. Though planted on the wayside, a builder would not turn his head to look at it. Now your words, Sir, are great, but of no use - all unite in putting them away from them.' Zhuangzi replied, 'Have you never seen a wildcat or a weasel? There it lies, crouching and low, till the wanderer approaches; east and west it leaps about, avoiding neither what is high nor what is low, till it is caught in a trap, or dies in a net. Again there is the Yak, so large that it is like a cloud hanging in the sky. It is large indeed, but it cannot catch mice. You, Sir, have a large tree and are troubled because it is of no use - why do you not plant it in a tract where there is nothing else, or in a wide and barren wild? There you might saunter idly by its side, or in the enjoyment of untroubled ease sleep beneath it. Neither bill nor axe would shorten its existence; there would be nothing to injure it. What is there in its uselessness to cause you distress?'\r en In the northern darkness there is a fish and his name is Kun. The Kun is so huge I don't know how many thousand li he measures. He changes and becomes a bird whose name is Peng. The back of the Peng measures I don't know how many thousand li across, and when he rises up and flies off, his wings are like clouds all over the sky. When the sea begins to move, this bird sets off for the southern darkness, which is the Lake of Heaven.\r The Universal Harmony records various wonders, and it says: "When the Peng journeys to the southern darkness, the waters are roiled for three thousand li. He beats the whirlwind and rises ninety thousand li, setting off on the sixth-month gale." Wavering heat, bits of dust, living things blown about by the wind-the sky looks very blue. Is that its real color, or is it because it is so far away and has no end? When the bird looks down, all he sees is blue, too.\r If water is not piled up deep enough, it won't have the strength to bear up a big boat. Pour a cup of water into a hollow in the floor, and bits of trash will sail on it like boats. But set the cup there, and it will stick fast, for the water is too shallow and the boat too large. If wind is not piled up deep enough, it won't have the strength to bear up great wings. Therefore when the Peng rises ninety thousand li, he must have the wind under him like that. Only then can he mount on the back of the wind, shoulder the blue sky, and nothing can hinder or block him. Only then can he set his eyes to the south.\r The cicada and the little dove laugh at this, saying, "When we make an effort and fly up, we can get as far as the elm or the sapanwood tree, but sometimes we don't make it and just fall down on the ground. Now how is anyone going to go ninety thousand li to the south!"\r If you go off to the green woods nearby, you can take along food for three meals and come back with your stomach as full as ever. If you are going a hundred li, you must grind your grain the night before; and if you are going a thousand li, you must start getting the provisions together three months in advance. What do these two creatures understand? Little understanding cannot come up to great understanding; the short-lived cannot come up to the long-lived.\r How do I know this is so? The morning mushroom knows nothing of twilight and dawn; the summer cicada knows nothing of spring and autumn. They are the shortlived. South of Chu there is a caterpillar that counts five hundred years as one spring and five hundred years as one autumn. Long, long ago there was a great rose of Sharon that counted eight thousand years as one spring and eight thousand years as one autumn. They are the long-lived. Yet Pengzu alone is famous today for having lived a long time, and everybody tries to ape him. Isn't it pitiful!\r Among the questions of Tang to Qi we find the same thing.5 In the bald and barren north, there is a dark sea, the Lake of Heaven. In it is a fish that is several thousand li across, and no one knows how long. His name is Kun. There is also a bird there, named Peng, with a back like Mount Tai and wings like clouds filling the sky. He beats the whirlwind, leaps into the air, and rises up ninety thousand li, cutting through the clouds and mist, shouldering the blue sky, and then he turns his eyes south and prepares to journey to the southern darkness.\r The little quail laughs at him, saying, "Where does he think he's going? I give a great leap and fly up, but I never get more than ten or twelve yards before I come down fluttering among the weeds and brambles. And that's the best kind of flying, anyway! Where does he think he's going?" Such is the difference between big and little.\r \r Therefore a man who has wisdom enough to fill one office effectively, good conduct enough to impress one community, virtue enough to please one ruler, or talent enough to be called into service in one state, has the same kind of self-pride as these little creatures. Song Rongzi would certainly burst out laughing at such a man. The whole world could praise Song Rongzi and it wouldn't make him exert himself; the whole world could condemn him and it wouldn't make him mope. He drew a clear line between the internal and the external and recognized the boundaries of true glory and disgrace. But that was all. As far as the world went, he didn't fret and worry, but there was still ground he left unturned.\r Liezi could ride the wind and go soaring around with cool and breezy skill, but after fifteen days he came back to earth. As far as the search for good fortune went, he didn't fret and worry. He escaped the trouble of walking, but he still had to depend on something to get around. If he had only mounted on the truth of Heaven and Earth, ridden the changes of the six breaths, and thus wandered through the boundless, then what would he have had to depend on? Therefore I say, the Perfect Man has no self; the Holy Man has no merit; the Sage has no fame.\r \r Yao wanted to cede the empire to Xu You. "When the sun and moon have already come out," he said, "it's a waste of light to go on burning the torches, isn't it? When the seasonal rains are falling, it's a waste of water to go on irrigating the fields. If you took the throne, the world would be well ordered. I go on occupying it, but all I can see are my failings. I beg to turn over the world to you."\r Xu You said, "You govern the world and the world is already well governed. Now if I take your place, will I be doing it for a name? But name is only the guest of reality- will I be doing it so I can play the part of a guest? When the tailorbird builds her nest in the deep wood, she uses no more than one branch. When the mole drinks at the river, he takes no more than a bellyful. Go home and forget the matter, my lord. I have no use for the rulership of the world! Though the cook may not run his kitchen properly, the priest and the impersonator of the dead at the sacrifice do not leap over the wine casks and sacrificial stands and go take his place."\r Jian Wu said to Lian Shu, "I was listening to Jie Yu's talk- big and nothing to back it up, going on and on without turning around. I was completely dumbfounded at his words-no more end than the Milky Way, wild and wide of the mark, never coming near human affairs!"\r "What were his words like?" asked Lian Shu.\r "He said that there is a Holy Man living on faraway Gushe Mountain, with skin like ice or snow and gentle and shy like a young girl. He doesn't eat the five grains but sucks the wind, drinks the dew, climbs up on the clouds and mist, rides a flying dragon, and wanders beyond the four seas. By concentrating his spirit, he can protect creatures from sickness and plague and make the harvest plentiful. I thought this all was insane and refused to believe it."\r "You would!" said Lian Shu. "We can't expect a blind man to appreciate beautiful patterns or a deaf man to listen to bells and drums. And blindness and deafness are not confined to the body alone-the understanding has them, too, as your words just now have shown. This man, with this virtue of his, is about to embrace the ten thousand things and roll them into one. Though the age calls for reform, why should he wear himself out over the affairs of the world? There is nothing that can harm this man. Though floodwaters pile up to the sky, he will not drown. Though a great drought melts metal and stone and scorches the earth and hills, he will not be burned. From his dust and leavings alone, you could mold a Yao or a Shun! Why should he consent to bother about mere things?"\r A man of Song who sold ceremonial hats made a trip to\r Yue, but the Yue people cut their hair short and tattooed\r their bodies and had no use for such things. Yao brought\r order to the people of the world and directed the govern-\r ment of all within the seas. But he went to see the Four\r Masters of the faraway Gushe Mountain, [and when he\r got home] north of the Fen River, he was dazed and had\r forgotten his kingdom there.\r \r Huizi said to Zhuangzi, "The king of Wei gave me some seeds of a huge gourd. I planted them, and when they grew up, the fruit was big enough to hold five piculs. I tried using it for a water container, but it was so heavy I couldn't lift it. I split it in half to make dippers, but they were so large and unwieldy that I couldn't dip them into anything. It's not that the gourds weren't fantastically big-but I decided they were of no use, and so I smashed them to pieces."\r Zhuangzi said, "You certainly are dense when it comes to using big things! In Song there was a man who was skilled at making a salve to prevent chapped hands, and generation after generation his family made a living by bleaching silk in water. A traveler heard about the salve and offered to buy the prescription for a hundred measures of gold. The man called everyone to a family council. 'For generations we've been bleaching silk, and we've never made more than a few measures of gold,' he said. 'Now, if we sell our secret, we can make a hundred measures in one morning. Let's let him have it!' The traveler got the salve and introduced it to the king of Wu, who was having trouble with the state of Yue. The king put the man in charge of his troops, and that winter they fought a naval battle with the men of Yue and gave them a bad beating." A portion of the conquered territory was awarded to the man as a fief. The salve had the power to prevent chapped hands in either case; but one man used it to get a fief, while the other one never got beyond silk bleaching-because they used it in different ways. Now you had a gourd big enough to hold five piculs. Why didn't you think of making it into a great tub so you could go floating around the rivers and lakes, instead of worrying because it was too big and unwieldy to dip into things! Obviously you still have a lot of underbrush in your head!"\r \r Huizi said to Zhuangzi, "I have a big tree called a shu. Its trunk is too gnarled and bumpy to apply a measuring line to, its branches too bent and twisty to match up to a com- pass or square. You could stand it by the road, and no carpenter would look at it twice. Your words, too, are big and useless, and so everyone alike spurns them!"\r Zhuangzi said, "Maybe you've never seen a wildcat or a weasel. It crouches down and hides, watching for something to come along. It leaps and races east and west, not hesitating to go high or low-until it falls into the trap and dies in the net. Then again there's the yak, big as a cloud covering the sky. It certainly knows how to be big, though it doesn't know how to catch rats. Now you have this big tree, and you're distressed because it's useless. Why don't you plant it in Not-Even-Anything Village or the field of Broad-and-Boundless, relax and do nothing by its side, or lie down for a free and easy sleep under it? Axes will never shorten its life, nothing can ever harm it. If there's no use for it, how can it come to grief or pain?"\r \r (translation by Watson Burton)"""@en, """北冥有魚，其名為鯤。鯤之大，不知其幾千里也。化而為鳥，其名為鵬。鵬之背，不知其幾千里也；怒而飛，其翼若垂天之雲。是鳥也，海運則將徙於南冥。南冥者，天池也。齊諧者，志怪者也。諧之言曰：「鵬之徙於南冥也，水擊三千里，摶扶搖而上者九萬里，去以六月息者也。」野馬也，塵埃也，生物之以息相吹也。天之蒼蒼，其正色邪？其遠而無所至極邪？其視下也亦若是，則已矣。且夫水之積也不厚，則負大舟也無力。覆杯水於坳堂之上，則芥為之舟，置杯焉則膠，水淺而舟大也。風之積也不厚，則其負大翼也無力。故九萬里則風斯在下矣，而後乃今培風；背負青天而莫之夭閼者，而後乃今將圖南。蜩與學鳩笑之曰：「我決起而飛，槍1榆、枋，時則不至而控於地而已矣，奚以之九萬里而南為？」適莽蒼者三湌而反，腹猶果然；適百里者宿舂糧；適千里者三月聚糧。之二蟲又何知！小知不及大知，小年不及大年。奚以知其然也？朝菌不知晦朔，蟪蛄不知春秋，此小年也。楚之南有冥靈者，以五百歲為春，五百歲為秋；上古有大椿者，以八千歲為春，八千歲為秋。而彭祖乃今以久特聞，眾人匹之，不亦悲乎！\r \r 湯之問棘也是已。窮髮之北，有冥海者，天池也。有魚焉，其廣數千里，未有知其脩者，其名為鯤。有鳥焉，其名為鵬，背若泰山，翼若垂天之雲，摶扶搖羊角而上者九萬里，絕雲氣，負青天，然後圖南，且適南冥也。斥鴳笑之曰：「彼且奚適也？我騰躍而上，不過數仞而下，翱翔蓬蒿之間，此亦飛之至也。而彼且奚適也？」此小大之辯也。\r \r \r 故夫知效一官，行比一鄉，德合一君而徵一國者，其自視也亦若此矣。而宋榮子猶然笑之。且舉世而譽之而不加勸，舉世而非之而不加沮，定乎內外之分，辯乎榮辱之竟，斯已矣。彼其於世，未數數然也。雖然，猶有未樹也。夫列子御風而行，泠然善也，旬有五日而後反。彼於致福者，未數數然也。此雖免乎行，猶有所待者也。若夫乘天地之正，而御六氣之辯，以遊無窮者，彼且惡乎待哉！故曰：至人無己，神人無功，聖人無名。\r \r 堯讓天下於許由，曰：「日月出矣，而爝火不息，其於光也，不亦難乎！時雨降矣，而猶浸灌，其於澤也，不亦勞乎！夫子立而天下治，而我猶尸之，吾自視缺然，請致天下。」許由曰：「子治天下，天下既已治也。而我猶代子，吾將為名乎？名者，實之賓也，吾將為賓乎？鷦鷯巢於深林，不過一枝；偃鼠飲河，不過滿腹。歸休乎君！予無所用天下為。庖人雖不治庖，尸祝不越樽俎而代之矣。」\r \r 肩吾問於連叔曰：「吾聞言於接輿，大而無當，往而不反。吾驚怖其言，猶河漢而無極也，大有逕庭，不近人情焉。」連叔曰：「其言謂何哉？」曰：「藐姑射之山，有神人居焉，肌膚若冰雪，淖約若處子，不食五穀，吸風飲露。乘雲氣，御飛龍，而遊乎四海之外。其神凝，使物不疵癘而年穀熟。吾以是狂而不信也。」連叔曰：「然，瞽者無以與乎文章之觀，聾者無以與乎鍾鼓之聲。豈唯形骸有聾盲哉？夫知亦有之。是其言也，猶時女也。之人也，之德也，將旁礡萬物，以為一世蘄乎亂，孰弊弊焉以天下為事！之人也，物莫之傷，大浸稽天而不溺，大旱、金石流、土山焦而不熱。是其塵垢粃糠，將猶陶鑄堯、舜者也，孰肯以物為事！宋人資章甫而適諸越，越人斷髮文身，無所用之。堯治天下之民，平海內之政，往見四子藐姑射之山，汾水之陽，窅然喪其天下焉。」\r \r 惠子謂莊子曰：「魏王貽我大瓠之種，我樹之成而實五石，以盛水漿，其堅不能自舉也。剖之以為瓢，則瓠落無所容。非不呺然大也，吾為其無用而掊之。」莊子曰：「夫子固拙於用大矣。宋人有善為不龜手之藥者，世世以洴澼絖為事。客聞之，請買其方百金。聚族而謀曰：『我世世為洴澼絖，不過數金；今一朝而鬻技百金，請與之。』客得之，以說吳王。越有難，吳王使之將。冬，與越人水戰，大敗越人，裂地而封之。能不龜手一也，或以封，或不免於洴澼絖，則所用之異也。今子有五石之瓠，何不慮以為大樽而浮乎江湖，而憂其瓠落無所容？則夫子猶有蓬之心也夫！」\r \r 惠子謂莊子曰：「吾有大樹，人謂之樗。其大本擁腫而不中繩墨，其小枝卷曲而不中規矩，立之塗，匠者不顧。今子之言，大而無用，眾所同去也。」莊子曰：「子獨不見狸狌乎？卑身而伏，以候敖者；東西跳梁，不避高下；中於機辟，死於罔罟。今夫斄牛，其大若垂天之雲。此能為大矣，而不能執鼠。今子有大樹，患其無用，何不樹之於無何有之鄉，廣莫之野，彷徨乎無為其側，逍遙乎寢臥其下？不夭斤斧，物無害者，無所可用，安所困苦哉！」\r """@zh, """Běi míng yǒu yú, qí míng wèi kūn. Kūn zhī dà, bùzhī qí jǐ qiān lǐ yě. Huà ér wéi niǎo, qí míng wèi péng. Péng zhī bèi, bùzhī qí jǐ qiān lǐ yě; nù ér fēi, qí yì ruò chuí tiān zhī yún. Shì niǎo yě, hǎiyùn zé jiāng xǐ yú nán míng. Nán míng zhě, tiānchí yě. Qí xié zhě, zhì guài zhě yě. Xié zhī yán yuē:`Péng zhī xǐ yú nán míng yě, shuǐ jī sānqiān lǐ, tuán fúyáo ér shàng zhě jiǔ wàn lǐ, qù yǐ liù yuè xí zhě yě.'Yěmǎ yě, chén'āi yě, shēngwù zhī yǐ xī xiāng chuī yě. Tiān zhī cāngcāng, qí zhèngsè xié? Qí yuǎn ér wú suǒ zhìjí xié? Qí shì xià yě yì ruòshì, zé yǐ yǐ. Qiě fū shuǐ zhī jī yě bù hòu, zé fù dà zhōu yě wúlì. Fù bēi shuǐ yú ào táng zhī shàng, zé jiè wéi zhī zhōu, zhì bēi yān zé jiāo, shuǐ qiǎn ér zhōu dà yě. Fēng zhī jī yě bù hòu, zé qí fù dà yì yě wúlì. Gù jiǔ wàn lǐ zé fēng sī zàixià yǐ, érhòu nǎi jīn péi fēng; bèifù qīngtiān ér mò zhī yāo è zhě, érhòu nǎi jīn jiāng tú nán. Tiáo yǔ xué jiū xiào zhī yuē:`Wǒ juéqǐ ér fēi, qiāng yú, fāng, shí zé bù zhì ér kòng yú dì éryǐ yǐ, xīyǐzhī jiǔ wàn lǐ ér nán wèi?'Shì mǎngcāng zhě sān cān ér fǎn, fù yóu guǒrán; shì bǎi lǐ zhě sù chōng liáng; shì qiānlǐ zhě sān yuè jù liáng. Zhī èr chóng yòu hé zhī! Xiǎo zhī bùjí dà zhī, xiǎo nián bùjí dà nián. Xī yǐ zhī qí rán yě? Cháo jūn bùzhī huìshuò, huì gū bùzhī chūnqiū, cǐ xiǎo nián yě. Chǔ zhī nán yǒu míng líng zhě, yǐ wǔbǎi suì wèi chūn, wǔbǎi suì wèi qiū; shànggǔ yǒu dà chūn zhě, yǐ bāqiān suì wèi chūn, bāqiān suì wèi qiū. Ér péngzǔ nǎi jīn yǐjiǔ tè wén, zhòngrén pǐ zhī, bù yì bēi hū!\r \r Tāng zhī wèn jí yěshì yǐ. Qióng fà zhī běi, yǒu míng hǎi zhě, tiānchí yě. Yǒu yú yān, qí guǎng shù qiān lǐ, wèi yǒu zhī qí xiū zhě, qí míng wèi kūn. Yǒu niǎo yān, qí míng wèi péng, bèi ruò tàishān, yì ruò chuí tiān zhī yún, tuán fúyáo yángjiǎo ér shàng zhě jiǔ wàn lǐ, jué yúnqì, fù qīngtiān, ránhòu tú nán, qiě shì nán míng yě. Chì yàn xiào zhī yuē:`Bǐ qiě xī shì yě? Wǒ téngyuè ér shàng, bùguò shù rèn ér xià, áoxiáng pénghāo zhī jiān, cǐ yì fēi zhī zhì yě. Ér bǐ qiě xī shì yě?' Cǐ xiǎo dà zhī biàn yě. \r \r Gù fū zhī xiào yī guān, xíng bǐ yī xiāng, dé hé yī jūn ér zhǐ yī guó zhě, qí zì shì yě yì ruò cǐ yǐ. Ér sòng róngzi yóurán xiào zhī. Qiě jǔshì ér yù zhī ér bù jiā quàn, jǔshì ér fēi zhī ér bù jiā jǔ, dìng hū nèiwài zhī fēn, biàn hū róngrǔ zhī jìng, sī yǐ yǐ. Bǐ qí yú shì, wèishù shù rán yě. Suīrán, yóu yǒu wèi shù yě. Fū lièzǐ yùfēng ér xíng, líng rán shànyě, xún yǒu wǔ rì érhòu fǎn. Bǐ yú zhì fú zhě, wèi shù shù rán yě. Cǐ suī miǎn hū xíng, yóu yǒu suǒ dài zhě yě. Ruòfú chéng tiāndì zhī zhèng, ér yù liù qì zhī biàn, yǐ yóu wúqióng zhě, bǐ qiě è hū dài zāi! Gù yuē: Zhì rén wú jǐ, shén rén wú gōng, shèngrén wúmíng.\r \r Yáo ràng tiānxià yú xǔ yóu, yuē:`Rì yuè chū yǐ, ér jué huǒ bù xī, qí yú guāng yě, bù yì nán hū! Shíyǔ jiàng yǐ, ér yóu jìn guàn, qí yú zé yě, bù yì láo hū! Fūzǐ lì ér tiānxià zhì, ér wǒ yóu shī zhī, wú zì shì quē rán, qǐng zhì tiānxià.'Xǔ yóu yuē:`Zi zhì tiānxià, tiānxià jì yǐ zhì yě. Ér wǒ yóu dài zi, wú jiāng wèi míng hū? Míng zhě, shí zhī bīn yě, wú jiāng wèi bīn hū? Jiāoliáo cháo yú shēnlín, bùguò yīzhī; yǎn shǔ yǐn hé, bùguò mǎnfù. Guī xiū hū jūn! Yǔ wú suǒyòng tiānxià wèi. Páo rén suī bùzhì páo, shī zhù bù yuè zūn zǔ ér dài zhī yǐ.'\r \r Jiān wú wèn yú lián shū yuē:`Wú wén yán yú jiē yú, dà'érwúdàng, wǎng ér bù fǎn. Wú jīng bù qí yán, yóu héhàn ér wújí yě, dà yǒu jìng tíng, bù jìn rénqíng yān.'Lián shū yuē:`Qí yán wèi hé zāi?'Yuē:`Miǎo gū shè zhī shān, yǒu shén rén jū yān, jīfū ruò bīngxuě, nào yuē ruò chǔzǐ, bù shí wǔgǔ, xī fēng yǐn lù. Chéng yúnqì, yù fēilóng, ér yóu hū sìhǎi zhī wài. Qí shén níng, shǐ wù bù cī lì ér nián gǔ shú. Wú yǐ shì kuáng ér bùxìn yě.'Lián shū yuē:`Rán, gǔ zhě wú yǐ yǔ hū wénzhāng zhī guān, lóngzhě wú yǐ yǔ hū zhōng gǔ zhī shēng. Qǐ wéi xínghái yǒu lóng máng zāi? Fū zhī yì yǒu zhī. Shì qí yán yě, yóu shí nǚ yě. Zhī rén yě, zhī dé yě, jiāng páng bó wànwù, yǐwéi yīshì qí hū luàn, shú bì bì yān yǐ tiānxià wéi shì! Zhī rén yě, wù mò zhī shāng, dà jìn jī tiān ér bù nì, dà hàn, jīnshí liú, tǔshān jiāo ér bù rè. Shì qí chéngòu bǐ kāng, jiāng yóu táozhù yáo, shùn zhě yě, shú kěn yǐ wù wéi shì! Sòng rén zī zhāng fǔ ér shì zhū yuè, yuè rén duàn fà wénshēn, wú suǒyòng zhī. Yáo zhì tiānxià zhī mín, píng hǎinèi zhī zhèng, wǎng jiàn sì zi miǎo gū shè zhī shān, fén shuǐ zhī yáng, yǎo rán sàng qí tiānxià yān.'\r \r Huìzi wèi zhuāng zǐ yuē:`Wèiwángyí wǒ dà hù zhī zhǒng, wǒ shù zhī chéng ér shí wǔ shí, yǐ shèng shuǐ jiāng, qí jiān bùnéng zì jǔ yě. Pōu zhī yǐwéi piáo, zé hù luò wú suǒ róng. Fēi bù xiāo rán dà yě, wú wéi qí wúyòng ér póu zhī.'Zhuāng zǐ yuē:`Fūzǐ gù zhuō yú yòng dà yǐ. Sòng rén yǒu shàn wéi bù guī shǒu zhī yào zhě, shìshì yǐ píng pì kuàng wéi shì. Kè wén zhī, qǐng mǎi qí fāng bǎi jīn. Jù zú ér móu yuē:“Wǒ shìshì wéi píng pì kuàng, bùguò shù jīn; jīn yī zhāo ér yù jì bǎi jīn, qǐng yǔ zhī.” Kè dé zhī, yǐ shuō wú wáng. Yuè yǒunán, wú wáng shǐ zhī jiàng. Dōng, yǔ yuè rén shuǐ zhàn, dàbài yuè rén, liè dì ér fēng zhī. Néng bù guī shǒu yī yě, huò yǐ fēng, huò bùmiǎn yú píng pì kuàng, zé suǒyòng zhī yì yě. Jīn zi yǒu wǔ shí zhī hù, hé bùlǜ yǐwéi dà zūn ér fú hū jiānghú, ér yōu qí hù luò wú suǒ róng? Zé fūzǐ yóu yǒu péng zhī xīn yě fū!'\r \r Huìzi wèi zhuāng zǐ yuē:`Wú yǒu dàshù, rén wèi zhī chū. Qí dà běn yōng zhǒng ér bù zhòng shéngmò, qí xiǎozhī juǎnqū ér bù zhòng guījǔ, lì zhī tú, jiàng zhě bùgù. Jīn zǐ zhī yán, dà ér wúyòng, zhòng suǒ tóng qù yě.'Zhuāng zǐ yuē:`Zi dú bùjiàn lí shēng hū? Bēi shēn ér fú, yǐ hòu áo zhě; dōngxī tiàoliáng, bù bì gāo xià; zhōng yú jī pì, sǐ yú wǎng gǔ. Jīn fū lí niú, qí dà ruò chuí tiān zhī yún. Cǐ néng wéi dà yǐ, ér bùnéng zhí shǔ. Jīn zi yǒu dàshù, huàn qí wúyòng, hébù shù zhī yú wú hé yǒu zhī xiāng, guǎng mò zhī yě, fǎnghuáng hū wúwéi qí cè, xiāoyáo hū qǐn wò qí xià? Bù yāo jīn fǔ, wù wúhài zhě, wú suǒ kěyòng, ān suǒ kùnkǔ zāi!'\r """@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Wang Nanming 王南溟" ; wdt:P27 ; wdt:P569 "1962"^^xsd:gYear ; wdt:P800 , , , , , ; wdt:P812 , ; wdt:P856 ; wdt:P937 ; sch:thumbnailUrl ; write:description """Wang Nanming is a contemporary Chinese artist known for his contributions to ink painting and calligraphy. He was born in 1962 in Jiangsu Province, China. Wang Nanming is recognized for his innovative approach to traditional Chinese art forms, particularly in the realm of ink painting and calligraphy, blending traditional techniques with modern interpretations and incorporating elements of contemporary life and global influences.\r Wang Nanming is known as one of the most critical voices in contemporary Chinese art criticism due to his sharp critique. He is both an interpreter and promoter of concepts such as "avant-garde art," "post-avant-garde art," and "Metavant-garde" (Geng qianwei yishu 更前卫艺术). At the same time, Wang is also an artist who integrates his thoughts and ideas into his creative practice. After creating the series "Balls of Characters" from 1989 to 1992, Wang's artistic direction shifted towards issues concerning art and society, which have been continuously presented in his work. His artworks have been exhibited widely both in China and internationally. In 2017 Wang Nanming was appointed as new Director of Himalayas Museum in Shanghai."""@en ; sch:image . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Wang Yong 王勇" ; wdt:P27 ; wdt:P453 ; wdt:P569 "1976"^^xsd:gYear ; wdt:P800 , , ; wdt:P812 ; wdt:P937 ; sch:thumbnailUrl ; write:description """Wang Yong, born in 1976 in Xuzhou, Jiangsu Province, currently resides in Beijing. He is a representative artist of the "New School of Beijing" (Xin jing pai 新京派) and of "Ten Ink" (Shi mo 十墨). Wang Yong holds an academic position at the Art Research Institute of the New Beijing School and serves as General Secretary of the New Beijing School. He is also a member of the "Hudson Artists Association" in New York and participates as a guest artist at the "Hudson International Art Exchange" and "Visiting Centre" in New York. His works are part of the collections held by the Ferrari Group in Italy and various other institutions in China and internationally. He has published monographs such as "The New Beijing School - New Art by Seventeen Artists from China". In the realm of Chinese contemporary art, Wang Yong is reknowned for his "Hidden Ink" (Yin mo 隐墨). In 2011, he named his works "Hidden Ink," using Zen (chan 禅) as a methodology and applying Zen approaches to contemplate and address issues.\r """@en ; write:hasCalligraphicTraining "Self-Taught"@en ; sch:image ; write:isCalligrapherOf ; write:isCuratorOf . a wd:Q464980 ; wdt:P10661 ; wdt:P1476 "From Inception: Wang Dongling 60 Years of Calligraphy (从头开始 ——王冬龄书法艺术60年)"@en, "从头开始 ——王冬龄书法艺术60年"@zh, "Cóngtóu kāishǐ ——Wáng Dōnglíng shūfǎ yìshù 60 nián"@zh-Latn ; wdt:P1640 ; wdt:P276 , ; wdt:P580 "2021-10-16"^^xsd:date ; wdt:P582 "2021-11-14"^^xsd:date ; wdt:P664 , , , , , , , ; wdt:P856 , ; sch:thumbnailUrl ; write:description """The exhibition "From Inception: Wang Dongling 60 Years of Calligraphy" was held at the Zhejiang Art Museum in Hangzhou from 16 October to 14 November 2021. This retrospective exhibition included iconic artworks by Wang Dongling and represented the his largest solo exhibition. The exhibition was divided into four parts: Calligraphy (Shu 书), Writing (Fei shu 非书, Not-Calligraphy), Chaos-Writing (Luanshu 乱书), and From Inception (Cong tou kaishi 从头开始). In particular, the four sections were structured as follows: \r Part 1, "Calligraphy" occupies two exhibition halls (5, 6). The first hall (Hall No. 6) features "Wandering Beyond: I, II, III" (2003) and other iconic hanging scrolls written using four traditional calligraphic scripts. The second hall (Hall No. 5), titled "Scholar's Snow Cave" (Shutang xuedong 书堂雪洞), presents small-sized works in regular script and big-sized works in cursive script, encompassing different calligraphic genres and materials such as handscrolls, album leaves, tablet inscriptions, screens, etc. This section showcases Wang Dongling's immersion and training in the calligraphic tradition and first examples of experimentation. \r Part 2, "Writing (Fei shu 非书, Not-Calligraphy)" is composed of the installation "The Bamboo Path" (2017) situated in the gallery's glass-ceilinged corridor, and the section titled "Fantasy Land of Calligraphy" (Shulin Huanjing 书林幻境) in Hall No. 4. This section consists of colored album and newspaper leaves (i.e. "Dance" Wu 舞, 1989), abstract ink paitings (i.e. "Dark (Heaven) and Yellow (Earth)" Xuan huang 玄黄, 1998, and "Brush Array" Bi zhen tu 笔阵图, 2007), and writings made of white acrylic on transparent panels (i.e. "More than White” Fei bai 非白, 2013).\r Part 3, "Chaos-Writing" (Luanshu 乱书, Entangled Calligraphy) is dedicated to Wang Dongling's Chaos Script (luanshu 乱书), including the installation "Drink Alone under the Moon, Raise a Wine Glass to Ask the Sky by Li Bai" (2019), the iPad work "Filling the World with Love" (2021), "Wandering Beyond Chaos Script" (2015) and many other hanging scrolls and artworks realized by Wang Dongling using Chaos Script.\r Part 4, “From Inception" (Cong tou kaishi 从头开始) featured collections of documents illustrating the artist's six-decades-long artistic exploration, in both its traditional and modern forms. \r The exhibition "From Inception: Wang Dongling 60 Years of Calligraphy" was sponsored by the Publicity Department of the Central Committee of the Communist Party of China (Zhejiang Province Committee), the Hangzhou Municipal People’s Government, the Ministry of Culture and Tourism (Zhejiang Province), China Federation of Literary and Art Circles (Zhejiang Province), Chinese Calligraphers Association (CCA), China Academy of Art (CAA) and Xiling Society of Seal Arts (XSSA). The organizers included the School of Chinese Painting and Calligraphy Art of CAA and Lanting Calligraphy Association."""@en ; write:exhibitedArtwork , , , , , , ; sch:image . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Li Binquan 李斌权" ; wdt:P27 ; wdt:P453 ; wdt:P569 "1965"^^xsd:gYear ; wdt:P800 , , , , , ; wdt:P937 ; write:description "Li Binquan is a Chinese calligrapher who was born in 1965. Praised as the founder of Chinese \"music calligraphy\" (yinyue shufa 音乐书法), he has held many foreign audiences captive, engendering appreciation of the abstract beauty of the Chinese calligraphy. His works were published in many influential publications including the People’s Daily, the China & World Cultural Exchange, and the China Collections, as well as sold at many auctions. In January 2011, Li brought an audio-visual extravaganza, accompanied by the Czech National Symphony Orchestra to the Golden Hall of Vienna Muzikverein Concert Hall. In May 2011, Li together with many renowned Chinese artists and performers conducted a Chinese Calligraphy Concert at the Hofburg Palace in Vienna, marking the 40th anniversary of the establishment of diplomatic ties between China and Austria. In September 2011, Li displayed his stylish calligraphy to the accompaniment of music for a group of world leaders during the Summer Davos Forum. his Chinese Calligraphy Concert 2012, accompanied by the Austria Rehal Symphony Orchestra, was held at the Beijing Theatre. In June 2012, Li was invited to play Cao Xueqin, a writer of the Qing Dynasty (1644-1911), in a dramatization of the novel Dream of Red Mansions. He rewrote the poems in the beginning and end of the novel in the drama directed by Li Shaohong and performed at the Water Cube Olympic swimming venue in Beijing. In August 2012, he was accompanied by the new London Symphony Orchestra and contemporary ballet dancers from Britain in a calligraphy concert at Sadler’s Wells Theater in London to honour the Summer Olympic Games."@en ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:isCalligrapherOf . rdfs:label "Zhuangzi" . rdfs:label "plastic" . rdfs:label "neon lighting" . rdfs:label "social critic" . rdfs:label "sea" . rdfs:label "art historian" . rdfs:label "Qi", "qi" . rdfs:label "protest" . rdfs:label "wood" . rdfs:label "Singapore" ; wdt:P625 "Point(103.8 1.3)"^^geosparql:wktLiteral . rdfs:label "composer" . rdfs:label "Europe" ; wdt:P625 "Point(9.14062 48.690959)"^^geosparql:wktLiteral . rdfs:label "existence" . rdfs:label "bird" . rdfs:label "musician" . rdfs:label "Venice" ; wdt:P625 "Point(12.331944444444 45.439722222222)"^^geosparql:wktLiteral . rdfs:label "harmony" . rdfs:label "identity" . rdfs:label "sculpture" . rdfs:label "small seal script" . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P19 ; wdt:P20 ; wdt:P21 ; wdt:P2561 "Gu Gan 古干" ; wdt:P27 ; wdt:P569 "1942"^^xsd:gYear ; wdt:P570 "2020-05-30"^^xsd:date ; wdt:P800 , , , ; wdt:P812 ; wdt:P937 , ; sch:thumbnailUrl ; write:description "Gu Gan (1942, Changsha, Hunan Province - 2020), original name Zhang Shiqiang 张世强, was a prominent Chinese artist and calligrapher known for his pioneering contributions to modern calligraphy. He began his artistic training under Ye Qianyu, Huang Miaozi, and Zhang Zhengyu at the Central Academy of Fine Arts, where he studied until 1962. Influenced by Western artists like Kandinsky, Klee, and Miró, he sought to modernize Chinese calligraphy by experimenting with character forms, scripts, and the use of colored inks. In 1985, he organized the Modernist Calligraphy Exhibition and became the chairman of the Society of Modern Calligraphy. His innovative approach is described in his book, \"Three Steps of Modern Calligraphy\" (1990). During the 1990s, Gu Gan incorporated Buddhist themes into his work, inspired by Dunhuang's ancient monastery art. Internationally recognized in 1996, he was the first Chinese artist to design the label for Château Mouton Rothschild’s grand cru. Within China, he continued promoting modern calligraphy, organizing the exhibition \"Bashu Parade: '99 Chengdu Retrospective of Chinese Modern Calligraphy at the End of the Twentieth Century\" in 1999. Over two decades, Gu Gan’s art evolved to include non-traditional materials and techniques, solidifying his legacy as a transformative figure in modern Chinese calligraphy."@en ; write:hasCalligraphicTraining "Academic"@en ; write:hasWikidataResource ; sch:image ; write:isCalligrapherOf . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Wu Wei 吴味" ; wdt:P27 ; wdt:P453 , , ; wdt:P569 "1963-07"^^xsd:gYearMonth ; wdt:P800 , , , , , ; wdt:P812 ; wdt:P937 ; sch:thumbnailUrl ; write:description "Wu Wei was born in Ezhou (Hubei Province) in July 1963. He earned a master’s degree in medicine from Tongji Medical University and currently lives in Shenzhen. Since 1993, Wu Wei has been studying the changes and transformations related to contemporary calligraphy. Wu Wei argues that since calligraphy has turned towards modernism, its subject (Chinese characters) has been denied as a subject and has acquired a new connotation. As a result, the ontological system of Chinese ideographic writing has collapsed and, along with it, that solid bond that unites the dots and strokes of the brush to the overall compositional structure and the chosen writing style in a calligraphic work has also collapsed. Chinese characters have therefore been reduced to pure “signs”, becoming simply “calligraphic material”. The artist’s intent is to reflect on certain cultural issues related to man and his role in Chinese society. To do so, Wu Wei uses calligraphy, the traditional art par excellence. His works are largely “conceptual” in nature, focusing, until the middle 2000s, on performances that completely go beyond calligraphic methodology in the traditional sense." ; write:hasCalligraphicTraining "Self-Taught"@en ; sch:image . a wd:Q184485 ; wdt:P1303 ; wdt:P1476 "Biface Graphy (双面书法)"@en, "双面书法"@zh, "Shuāng miàn shūfǎ"@zh-Latn ; wdt:P175 , , ; wdt:P179 ; wdt:P180 , , , , , ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P2047 "PT30M"^^xsd:duration ; wdt:P276 ; wdt:P585 "2018-04"^^xsd:gYearMonth ; wdt:P608 ; sch:thumbnailUrl ; write:calligrapher , , ; write:createsArtwork ; write:description """This Biface Graphy writing session was held at the "Venice Academy of Fine Arts", in occasion of the 2018 "Ink Art Week - Ink Riders (Yu mo 驭墨) Exhibit Vernissage". \r In this "Biface Graphy" writing session, a scroll hangs vertically in-between the two artists Zhang Qiang and Lia Wei. The brushes thus not having to compete for a same surface, each one being able to freely occupy a whole side of the paper. The script is realized with calligraphic brushes and ink; it is not readable, but constructed through the interaction of the two brushes writing simultaneously, conscious of each other’s movement.\r During the performance, the Italian cellist Paolo Santi played classical music on the cello, accompanying the writing session and contributing to the atmosphere of the moment.\r At the end of the performance, the fifty meters long scroll is hung in the center of the room."""@en ; write:hasChineseConcept ; write:hasMusicStyle ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image ; write:madeUsingTool wd:Q614467 ; sch:video . rdfs:label "Musicalligraphy" . rdfs:label "contemplation" . rdfs:label "dance" . rdfs:label "French" . rdfs:label "asphyxia" . rdfs:label "street artist" . rdfs:label "transformation" . rdfs:label "photographic paper" . rdfs:label "Taoism" . rdfs:label "inflatable ball" . rdfs:label "cursive running script" . rdfs:label "regular-running script" . rdfs:label "seal" . rdfs:label "ugly calligraphy" . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "0528 李球球", "Lǐ Qiúqiú"@zh-Latn ; wdt:P27 ; wdt:P361 ; wdt:P569 "1978-05-28"^^xsd:date ; wdt:P800 , , , ; wdt:P937 ; sch:thumbnailUrl ; write:description """Li Qiuqiu 李球球, known as 0528, is the forerunner of Beijing graffiti, as well as one of the first acknowledged graffiti writers in China. He is considered by many to be “the father of Beijing graffiti” and he is the leader of the first Beijing graffiti crew - the Beijing Penzi, founded in 2006. For this reason, he earned the nickname of “old boss” (laoda 老大). \r He started his activity in 1996 when he was only 18. At the beginning he did not write; instead, he depicted simple figures with his spray cans. Around 1999-2000, he started to write his tag 0528, marking his territory around the old city of Beijing. When asked when he started graffitiing, Li Qiuqiu answers: “I believe that everything dates back to my elementary school days; I have loved to paint ever since I was a child, and back then I often used chalk and brushes to draw and write on walls” (interview, 2016). In short, he was born to be a writer – one who initially, however, lacked a tag. About this choice, Li Qiuqiu recounts: “0528 is a reference to my birthday [the 28th of May]; I chose this tag in the hope that everyone would remember when I was born!” (interview 2016). This may sound a bit eccentric, but is reminiscent of the numeric tags of the first writers in New York, although those were linked to the street numbers of their homes.\r Li Qiuqiu’s initiation to graffiti art is linked to another of his great passions: skateboarding. Indeed, Li Qiuqiu often went to the Wudaokou neighbourhood to practice with his skateboard together with friends, and this offered him the opportunity to soak up the hip-hop culture. It was thanks to this passion that he met More, and they subsequently came up with the idea to form the BJPZ crew. In 2001, he also founded the Shehui 社会 brand together with other friends, dealing with graphics and brand dissemination. \r Although Li Qiuqiu never disdained the commercial side of graffiti, the main purpose of his art is strongly linked to the old school and the wish to bomb the city with his tags and pieces as an act of denunciation and rebellion, even though his works are actually neither seditious nor subversive.\r Besides being considered the father of Beijing graffiti, Li Qiuqiu is certainly a pioneer of the development of a “Chinese style”. He was one of the first to experiment with the use of Chinese characters in his graffiti (see e.g. "Society") and the author of a completely new and distinctive Chinese “puppet” known as "Fangshen 房神 (Spirit of the House)" or "Fanxian 梵仙 (Celestial Figure called Fan)". Inspired by traditional architecture, he has made it one of his stylistic features. This entity personifies the traditional Chinese house: its front door represents the rapt face of an almost meditative or perhaps somnolent spirit, the roof functions as its hair or a kind of sumptuous hat, and the small columns on either side of the door become two long locks of hair framing the face. He first depicted these entities in 2007, using canvas for his early experiments. In that same year, 0528 began illustrating traditional roofs on walls, which would later serve as “hats” for his future Fanxian figures. The first outdoor Fanxian were created in 2008. Li Qiuqiu’s work here takes on a polemical tone and becomes a subtle critique of unbridled speculation and the tragic impact of mass demolitions imposed by the government, which have destroyed the historical and social fabric of much of ancient Beijing.\r Li Qiuqiu is a true pioneer of graffiti art in China and the creator of a Chinese style in which everything can be traced back to its particular authorship, from bombing to elaborate pieces, from simple writing to figurative and decorative elements (which seem to be veering increasingly towards street art). Li Qiuqiu is, in fact, one of the few who managed to move from emulating western styles and stylistic features to creating something new and original that is recognisably Chinese: a true benchmark for the development of graffiti throughout China."""@en ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:hasTag "0528"@en ; sch:image . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Natuo 陆大宁", " Lu Daning"@zh-Latn ; wdt:P27 ; wdt:P361 ; wdt:P800 , , ; wdt:P937 ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:hasTag "那乇"@zh, "NAT"@zh-Latn, "NATUO"@zh-Latn ; write:isDesignerOf , . a wd:Q1400264 ; wdt:P2561 "ABS crew" ; wdt:P276 , ; wdt:P527 ; wdt:P571 "2007"^^xsd:gYear ; wdt:P800 , , ; wdt:P856 , , , , , , ; sch:thumbnailUrl ; write:description """ABS is one of the most eclectic and comprehensive crews in mainland China today and certainly the best known and most active in Beijing. It was founded in 2007 by Scar (a.k.a. Smer), Seven, Andc and Noise, and joined in 2015 by Goes, a writer from Chengdu. Scar and Seven, the veterans of the crew, started as writers in 2005, Andc, the social soul of ABS, in 2006, and Noise the following year, when the four decided to create the group.\r The name ABS is an acronym that has acquired several meanings over the years, the first of which is “Around the Bohai Sea”. The Bohai Sea is the innermost gulf of the Yellow Sea on the northeast coast of China, very close to the city of Beijing. It was chosen because the founders of the crew come from cities near the gulf, also known as Bohai Bay: Andc from Beijing, Seven from Tianjin, Noise from Dalian in the Liaoning province, and Scar from Shijiazhuang, the capital of the Hebei province. The second meaning is “Active, Brilliant, Significant”, referring to the qualities the crew seeks for their works. “A Brand New Start” is the third meaning, and the group’s greatest wish: a new mode for graffiti art to be created in China that represents the union of American and Chinese culture. The fourth and final meaning is “Anti-lock Braking System” or “Anti-skid Brake System” which implies the intent to follow the original idea of graffiti and standing firm on that path. \r In 2010, the members of the crew moved to Beijing and established their studio in the 798 Art District. In 2012, they opened China’s first graffiti store, called “400ML”, where they sold imported spray paint cans, books, graffiti-related items and their own original products, but most importantly, they created a hub for the promotion and spread of Chinese graffiti culture. The name of the shop was chosen because the standard capacity of the spray cans used for graffiti is 400 ml, but also because it stands as an acronym for “4” young Chinese people (the founders of the crew) who wish to be called Mr. Letter – “ML” – and dedicate “100” per cent of their time and skills to the art of graffiti. The crew decided to open this commercial space after a trip to Europe during which they first had the opportunity to use European paints and realized the poor quality of the Chinese spray cans which, according to them, “smelled like industrial paint and had a much smaller variety of colors” (Wu 2014, p. 3). Thus, they decided to start selling European cans in China in order to offer better quality products for the creation of successful graffiti.\r This trip to Europe, forming part of the 2011-12 EU-China Hip-Hop Communication Project, an exchange project between China and Europe dedicated to urban culture, marked a breakthrough for the crew. They were able to participate after winning the 2011 Wall Lords Asia Graffiti Battle, Asia’s greatest graffiti competition, held in Taiwan and attended by the main crews from the major Asian countries (Philippines, Singapore, Japan, Korea, People’s Republic of China, Indonesia, Malaysia, Thailand and Taiwan). Here, the crew was noticed by a German judge who invited them to participate in the exchange project. In thirty days, the ABS travelled from Berlin to Rotterdam and painted countless walls in the ten cities they crossed, together with other European writers, learning the German writing style and techniques. This was the turning point for the art of the ABS crew, who had originally worked with Chinese characters following the US styles. From this point on, they firmly changed course, abandoning charactering in favor of lettering, and searching for their own personal writing style, which became increasingly internationalized without every entirely losing sight of their Chinese origins. After this first phase, however, the crew almost completely abandoned charactering in favor of the Latin alphabet and English language. This gave rise to works of a completely opposite nature to the earlier ones, but in which the western influence continued to be very present and almost “oppressive”. Later, mainly due to their participation in the 2011-12 EU-China Hip-Hop Communication Project, the crew shifted to mostly lettering works, possibly featuring elements that plainly recall the group’s “Chineseness”, like dragons, pandas, pagodas and small calligraphic inscriptions, and certainly seeking a manifest stylistic recognizability. From 2012 onwards, plainly “Chinese” graffiti alternate with pieces in which “Chineseness” remains completely opaque, if not invisible, and which seem to aim for a very personal and recognizable style that clearly defines the identity of the ABS crew, regardless of its origin. In this period the art of the ABS crew has focused particularly on large-format and artistically elaborate works, mainly in wild style, with strong funky hints and comic-cartoon style references. The layout of their pieces has also become more and more defined and consolidated: in most cases the pieces consist of large alphabetical inscriptions on kaleidoscopic backgrounds, mainly featuring the tags of some of the crew members and animated by amusing puppets placed in the center of the composition. Therefore, in terms of writing, the ABS crew significantly prefers to use the Latin alphabet, while in terms of puppets and decorative elements, they combine references to Chinese and western characters, as well as to the hip-hop culture. Indeed, b-boys (breakdancers), skateboarders, graffiti writers and guys wearing hip-hop clothes are recurring figures. References to “Chineseness” are more frequent in foreign works, while those in characters are only created on Chinese soil (since they would be incomprehensible outside). Despite all these distinctions, the style of the crew has gradually been shaped and defined since 2012, becoming more recognizable, regardless of the type of writing and puppets used. It is a very “international” style, easy to read and appreciate even abroad. This desire for “internationalization” is visible not only in the crew’s style but also in the way they operate. Since their participation in the 2011-12 EU-China Hip-Hop Communication Project, the crew has engaged in frequent collaborations with foreign writers in China and abroad. In Beijing they worked with the Italian Sbam and the German Zyko. They have also participated in worldwide graffiti art festivals (especially in Europe and the United States, like the Berlin Mural Fest in 2018 - see the arwork "Joy in Bottle"), and organized international graffiti-related events, including “Graffiti On and Meeting Neighborhood”, an annual non-commercial event organized in Beijing in collaboration with the local government, which attracts graffiti writers from all over the world and aims to introduce graffiti to a wider audience. Their blog pages are filled with photos of trips to the United States and Europe, especially those of Andc, who visited Germany twice in 2018. This tells us a lot about the crew’s desire for “internationality”, while always remaining faithful to their culture of origin.\r The internationalization of graffiti carried out by the crew goes hand in hand with its commercial breakthrough. It can be affirmed that “the ABS crew led the way veering towards the commercial side of graffiti” (Bonniger 2018, p. 24), and it is no coincidence that they have a business development director, Wendy, who takes care of the growth of their brand and relations with potential clients. The commercial success of the crew is not only linked to the 400ML shop, but also to numerous collaborations with famous brands, like Red Bull, Adidas, Puma, Nike, Audi, Volkswagen, TAGHeuer and Ispo, for which they create works on commission. However, the crew strongly emphasizes that these collaborations do not affect their creative activity in any way and should therefore not be seen in a negative light. Thus, finding a way to earn money through creative activity is a blessing. In fact, it is no coincidence that the ABS is the longest-running crew in Beijing, as its members have managed to turn graffiti into a job. Even though this may be controversial, one should understand the peculiarities of the Chinese environment, where young people are subjected to heavy family pressures, society is extremely competitive, and most people do not even know what graffiti is. The crew is uncompromising about respecting their creative freedom in these collaborations. Although these works advertise brands or products and writers have to adhere to the theme of the piece, they must feel free to paint and represent whatever they want, choosing their desired style.\r The crew also collaborates with the government on specific projects: in 2014, for example, they painted ten city shuttle buses during the government-sponsored art festival in Beijing’s Central Business District (CBD). This kind of collaboration may seem contradictory in the graffiti context, but again we have to make an effort to identify with the background in which the group operates. Even though the crew has its own shop with branded products, collaborates with famous brands, can count on government support, and participates in public art commissions, they have never stopped making illegal graffiti on the streets of the city. \r On the contrary, as the ABS has repeatedly pointed out, all these jobs largely serve to finance activities on the fringes of legality and to get more liberty to “bomb” the streets of Beijing with their tags. Andc constantly mentions the ABS’s “obscure” work. This takes place “at night on the streets” (Bidisha 2014) and stems from the desire to cover the city with their tags, to “say something to people and make works that are comments on society” (ibid.). There are several tags, throw-ups, blockbusters or even more elaborate pieces created on abandoned or soon-to-be-demolished buildings. Some members of the crew even write on train cars, a real rarity in China where graffiti of this kind is not allowed and thus extremely dangerous. Of equal importance are their works serving as a social exposé. \r The ABS is an extremely multifaceted crew, and indeed the most versatile in Beijing. Its creative activity ranges from illegal street bombing to collaborations with famous commercial brands; from work on halls of fame granted by government authorities, to the creative assault of abandoned buildings on the outskirts of the city; from exposé pieces on skeletons of industrial archaeology, to design works for merchandising products. Their style is strongly influenced by the Euro-American tradition and steeped in hip-hop culture. It is characterized by strong wildstyle accents and funky notes, and mostly eschews the use of Chinese characters, although at times it presents references to their culture of origin, especially in the choice of puppets and decorative motifs. The crew is increasingly opening its style to the world, also thanks to its international vocation. However, its focus remains firmly on Chinese soil, and its ultimate aim is to promote and spread graffiti culture in China. According to Andc, the main intention for the future is to put “all possible energy into making graffiti an increasingly popular art form and to involve more and more young people in this activity” (interview 2015)."""@en ; write:hasArtisticCollectiveType ; sch:image . a wd:Q1400264 ; wdt:P2561 "Yellow Peril (YP) 黄祸" ; wdt:P276 , ; wdt:P527 , , , ; wdt:P571 "2020"^^xsd:gYear ; wdt:P800 , , ; wdt:P856 ; write:description """Yellow Peril (YP) is one of the most important crews of the so-called “New Era of Chinese Graffiti” (2020-2024) in mainland China. Yellow Peril, in Chinese Huanghuo 黄祸, was founded with the goal of promoting graffiti written in various Asian languages and includes members from all over the world. In China it is challenging to identify which writer belongs to which crew because crews are not confined to a single city and maintain friendly relations, but currently Yellow Peril seems to be composed of:\r - Exas / Lingdan 灵丹 (fat_spoon_x)\r - Zatou 杂投 / Zato\r - Zeit / Shijian 時間 (z51tiez)\r - Qizi 漆仔\r - Baitekuai 百特快 / Batman \r - Paradise / Tianguo 天国 (female?)\r - Funk\r - Elvis / Mao Wang 猫王 (Elvis Presley),\r - Reset / Chongqi 重啟 / Qiren 奇人 (reset_swg)\r - Dongbay 東北 (northeast)\r - Meimeng (?).\r The foundation of this crew is related to the Black Lives Matter protests in 2020. Following the death of George Floyd, Exas, a writer from Beijing, decided to start Yellow Peril. He wanted to create a crew dedicated to supporting graffiti in Asian writings, and the timing seemed proper. He explained that since he listened to rap music and consumed other forms of Black culture, he wanted to do something to support the Black community. The Yellow Peril, originally a xenophobic term used to refer to Asian immigrants, had been reclaimed by activists during the 1960s civil rights movement and was aligned with Black power movements like the Black Panthers."""@en ; write:hasArtisticCollectiveType . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Tong Yang-Tze 董陽孜 " ; wdt:P27 ; wdt:P569 "1942"^^xsd:gYear ; wdt:P800 , , , , , ; wdt:P812 ; wdt:P856 ; wdt:P937 ; write:description "TONG Yang-Tze is one of Taiwan’s most important modern-day artists. At the beginning of her childhood, she started studying calligraphy with her father. Later on, she studied arts at high school with the well-known painter Chang Ku-nien 張穀年 (1906-1987). In 1966, she graduated from the Fine Arts Department of National Normal University of Taiwan. Three years later, she started a Master of Arts at University of Massachusetts, USA. She also studied oil painting at the Brooklyn Collage. Following her return to Taiwan, she began experimenting with fusing Western theories of painting with the lines and strokes that are the backbone of Chinese calligraphy. TONG Yang-Tze is practically famous for her large-scale calligraphic pieces done in cursive script, with her work often described as vigorous, bold and unrestrained. The structure of her characters and their lay out reveal a uniquely modern interpretation and serve as the basis for a new calligraphic style. Over the past few years, TONG Yang-Tze has worked to promote the art of Chinese script, fusing the aesthetics of calligraphy with modern day lifestyles and visual art. Examples include collaboration with the Cloud Gate Dance Theatre, Kingstone Books Cultural Plaza, Taipei Main Station, the arrival/departure stamps used by Taiwan’s National Immigration Agency, the documentary Beyond Beauty—Taiwan From Above, and the character for ‘blessing’—part of the lunar couplet given to shoppers at eslite bookstores throughout Taiwan in celebration of the Chinese New Year. A full-time artist for over 40 years, TONG Yang-Tze has held over 60 calligraphy shows worldwide. In recent years, her focus has shifted to crossover exhibitions, using the medium of the calligraphic form and content to “re-introduce” the Chinese script to the public and highlighting its place in the modern world. Some of her most important exhibitions include: Ink Like Gold; Heart Strings–The Sounds of Silence; Dialogues, X beyond O: Calligraphy – Sign – Space; Eternal Rhythm of Ink; Silent Music; One Character: Honesty; and Solitary Joy. Some of her most important crossover exhibitions include: Chasing Spirit; SAO; CHEN; From Ink to Apparel-A Crossover between Calligraphy Art and Fashion Design. TONG Yang-Tze’s bold crossover experiments look to bring to life the beauty of calligraphy in the internet age and to ensure that the artistic beauty of the Chinese script finds its way into modern day dialogues—thus continuing the contemporary brilliance of this ancient Eastern tradition."@en ; write:hasCalligraphicTraining "Academic"@en ; write:hasWikidataResource ; write:isCuratorOf , . rdfs:label "heart" . rdfs:label "meditation" . rdfs:label "calligraphy" . rdfs:label "light blue" . rdfs:label "deconstruction" . rdfs:label "syringe" . rdfs:label "musicality" . rdfs:label "mountain" . rdfs:label "Cantonese" . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Wang Tiande 王天德" ; wdt:P27 ; wdt:P569 "1960"^^xsd:gYear ; wdt:P800 , , , , ; wdt:P812 , ; wdt:P856 ; wdt:P937 ; write:description """Wang Tiande, born in Shanghai in 1960, is a contemporary Chinese artist. He graduated from the Chinese Painting Department at the Zhejiang Academy of Fine Arts (now the China Academy of Art; CAA) in 1988 and later earned his doctoral degree in the Calligraphy Department. He currently serves as a professor and dean at the Art and Design Department of Fudan University in Shanghai.\r Wang Tiande's approach is the reimagination of traditional Chinese script and painting and his use of unconventional materials and techniques. One of his notable methods involves burning xuan paper with incense or cigarettes, creating unique textures and layers that add depth to his pieces. Wang's art explores the delicate balance between permanence and impermanence, material and immaterial, tradition and modernity. His innovative "Digital" series, inspired by his residency in Paris in 2002, merges contemporary art influences with his love for traditional ink techniques. In this series, he paints landscapes and calligraphies on xuan paper and enhances them with cigarette burns, blending painting and calligraphy in a rich and complex form. Wang's work has earned international acclaim and is featured in prestigious collections such as the Metropolitan Museum of Art, the Museum of Fine Arts in Boston, and the British Museum. Through his unique artistic vision, Wang continues to push the boundaries of traditional Chinese art."""@en ; write:hasCalligraphicTraining "Academic"@en ; write:hasWikidataResource ; write:isDesignerOf . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Task 刘峥 ", "Liu Zheng "@zh-Latn ; wdt:P27 ; wdt:P361 ; wdt:P569 "1986"^^xsd:gYear ; wdt:P800 , , , ; wdt:P812 ; wdt:P856 ; wdt:P937 , , ; write:description "The real driving force behind the Kwanyin Clan’s artistic research is its leader, Task (a.k.a. Tin/EricTin). What he seeks to do is pursue the search for a new aesthetic in which tradition makes modernity, starting from far-western media and art forms to create an identifiably Chinese style, strongly \"sinicized\", yet aesthetically accessible on a global scale. "@en ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:hasTag "EricTin"@en, "Tin"@en, "罐头"@zh, "Guantou"@zh-Latn ; sch:image ; sch:thumbnailUrl . a wd:Q464980 ; wdt:P10661 , , ; wdt:P1476 "Sounds of Ink: Luo Qi and 30 Years of Calligraphyism (水墨的声音：洛齐与三十年的书法主义)"@en, "INKiostro di voci: Luo Qi e 30 anni di calligrafismo"@it, "水墨的声音：洛齐与三十年的书法主义"@zh, "Shuǐmò de shēngyīn: Luò Qí yǔ sānshí nián de shūfǎzhǔyì"@zh-Latn ; wdt:P1640 ; wdt:P276 , ; wdt:P580 "2023-10-12"^^xsd:date ; wdt:P582 "2023-11-05"^^xsd:date ; wdt:P664 , ; wdt:P856 ; write:description """The exhibition “INKiostro di voci: Luo Qi e 30 anni di calligrafismo/Sounds of Ink: Luo Qi and 30 Years of Calligraphyism”(Shuimo de shengyin: Luo Qi yu sanshi nian de shufazhuyi 水墨的声音：洛齐与三十年的书法主义—— International Museum and Library of Music in Bologna, October 12 November 5, 2023), is dedicated to one of the most important living Chinese calligraphers, Luo Qi, and it celebrates 30 years of activity of one of the main currents of contemporary experimental calligraphy of which Luo Qi himself is the founder, called ‘calligraphyism’. This movement attempts to create a universally accessible asemic language based on calligraphic reflection. \r The exhibited works all stem from the interaction between calligraphy and music, a key theme in Luo Qi’s art, often described as “music of written signs” or “music of the line”. These works occupy not only the exhibition area on the ground floor, but also the museum rooms on the main floor, the inner courtyard of the Sanguinetti palace and its monumental staircase, so as to create a true visual and auditory dialogue within the resonant cultural space that surrounds them, between the art of calligraphy and music, and between East and West.\r In this exhibition, the artist presents 3 series: “Ode of Eight Thousand Verses” (Baqian songge 八千颂歌, 2017), “Writing Music – Silent Melodies” (Xie yue – Wu sheng zhi ge写乐·无声之, 2018-2013), and “Sound Images” (Shengyin de tuxiang 声音的图像, 2023). In the first series, inspired by one important sutra, Luo Qi combines Chinese and Sanskrit writings, thus creating visually the rhythm and the sound of the Buddhist litanies. In the second series, the melodies of famous Italian operas were translated as calligraphic signs inspired by the most ancient system for Chinese musical notation, the “Dunhuang musical score” (Dunhuang qupu 敦煌曲谱). In the third series, the artist reshapes antique Chinese pictograms creating strongly rhythmical visual plots.\r The exhibition also includes a series of texts documenting the active engagement of calligraphyism, and two long vertical scrolls made by the calligraphers Luo Qi and Silvio Ferragina during the multimedia musicalligraphy performance “Sound MAP” that took place at the exhibition’s opening ceremony (October 12, 2023).\r The series of events associated with the exhibitions embraces the international conference “Chinese Calligraphy and Music: Meeting of Voices” (October 13, 2023), book presentations, calligraphic workshops, guided tours, and the musicalligraphy performance “Inky Strings: Old Friends from Mountains and Rivers” by Echo Morgan and Zhang Yaqin (October 29, 2023). \r """ ; write:exhibitedArtwork , , , , , , , , , , , . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Song Dong 宋冬" ; wdt:P27 ; wdt:P453 , , ; wdt:P569 "1966"^^xsd:gYear ; wdt:P800 , , , , ; wdt:P812 , , ; wdt:P937 , , ; write:description """Song Dong (Beijing, 1966) is one of the most well-known Chinese artists on the international scene. He was introduced to painting and calligraphy at a young age, which ultimately led him to study painting. In 1989, in fact, he graduated from the Fine Arts Department of Capital Normal University in Beijing . He was acutely aware of the 85 New Wave movement, which proposed a radical turn toward expressive and experimental innovations. Starting with oil painting, he then turned to avant garde and experimental art forms including performance and video. In his artworks, he explores themes of memory, self-expression, impermanence, and the transience of human endeavors. His projects are often composed with quotidian objects and ephemera, proposing a destabilization of material hierarchies in relationship to personal and global themes.\r Among the performers, Song Dong is one of the firsts to mainly use calligraphic practices in his work. However, he replaces ink with water, an ephemeral and volatile substance that, vaporizing, clearly highlights the transient transitoriness of existence. There are three main series/works in which Song Dong narrates the impermanence of calligraphy and life through the use of water: “Writing Diary with Water / Water Diary Series” (Shui xie riji 水写日记系列, 1995 – 2012); “Writing Time with Water Series” (Shui xie shijian yi ge duo xiaoshi 水写时间一个多小时系列, 1995-2010) and “Stamping the Water / Printing on Water” ( Yin shui 印水, 1996). \r Song Dong's works are collected by major museums and art institutions such as the Museum of Modern Art in New York, the Metropolitan Museum of Art in the United States, the Guggenheim Museum in New York, the Ullens Art Foundation in Belgium, and the M+ Visual Art Hong Kong Museum. """@en ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:hasWikidataResource . a wd:Q184485 ; wdt:P1132 7 ; wdt:P1303 , , , , , ; wdt:P1476 "Heaven, Earth, Mankind and Unity (天地人合)"@en, "天地人合"@zh, "Tiāndì rén hé"@zh-Latn ; wdt:P175 , ; wdt:P180 , , , , , ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P2047 "PT20M"^^xsd:duration ; wdt:P276 ; wdt:P585 "2021-09-02"^^xsd:date ; wdt:P856 ; wdt:P941 , , , , , , , ; write:calligrapher ; write:createsArtwork , , , ; write:description """The “digital performance” of music and calligraphy entitled “Heaven, Earth, Mankind and Unity” (Tian di ren he天地人合) was realized on September 2, 2021 by the TENG company and recorded in the concert hall of the Singapore Chinese Culture Centre. The term “digital performance” for the TENG company refers to a performance not held in front of an audience, but created specifically to be recorded and reconstructed later, resulting in a digital video that represents the real work. During the recorded performance, the music played with different traditional Chinese and Western instruments was accompanied by calligraphic movements of the esteemed female Chinese calligrapher Grace Chen Liang. From the recorded video, four different videos were extracted and created in post-production, each lasting five minutes. Together, they formed a single digital video with a total duration of twenty minutes that represents the real digital performance.\r \r The four videos that composed the digital performance, are designed to be watched one after the other, in a sequence consisting of four moments: “Heaven” (Tian天) , “Earth” (Di 地) , “Mankind” (Ren人) and “Unity” (He合). The music played during the performance, is composed by Chow Junyi 赵俊毅 (b. 1987). \r - Movement 1. “Heaven” (Tian天) – For Voice, Sheng, Pipa, Guzheng, Erhu, Cello, Guitar & Electronics. This movement is based on one of the most influential Tang poems entitled “Spring Blossoms on a Moonlit Night” (Chunjiang hua yueye 春江花月夜) composed by the Chinese poet Zhang Ruoxu 张若虚 (c. 660-c. 720). Eight members of the company perform on stage, with mixed western and traditional Chinese instruments, while the calligrapher Grace Chen Liang accompanies their notes and melodies with calligraphic movements. The characters written by Chen Liang are an excerpt from the original poem, “Yue zhao hua lin jie si xian 月照花林皆似霰” (“The Moonlight shines upon dewy petals, glimmering like white pearls”) which illustrates the view of a curving stream within the meadow and moonshine illuminating the grass like a layer of snow – emphasising the beauty and harmony that exists between heaven and earth. This composition also plays with the concept of Yun 韵 (rhyme/musical sound), an aesthetic fluidity that is often found in traditional Chinese art. Through three Guzheng solos throughout the piece, where an abundance of freedom is given to the musician to direct the course and flow of the music, Yun is personified. These sections act as a juxtaposition to meter-oriented parts in the piece, creating contrasting sections of tension and release throughout the work, almost signifying a floating cosmos that has neither defined shape nor form. \r - Movement 2. “Earth” (Di 地) – For Guzheng, Cello, Guitar & Electronic. This movement is based on the traditional Chinese folk tune, “Intimate Guest” (zhi xin ke知心客) which is used in the Erhu solo, “Spring Scenery of Jiangnan” (Jiang nan chun se 江南春色). Describing the beauty of the lands south of the Yangtze river, this melody was also used in the Zhou Xuan 周璇 classic “The Wandering Songstress” (Tian ya ge nü天涯歌女). The composition features two unlikely western instruments (guitar and cello), as leads in this arrangement which speaks of the sweetness of what nature has to offer. The piece features a melodic structure that evokes the feeling of meeting a kindred spirit or loved one. Inspired by the melody, Chen Liang birthed the words “The Heart Dances and Leaps” (xin feiwu 心飞舞) to capture the feeling of one’s heart leaping out in joy. Chen Liang shares that these words can be considered a contemporary expression, and she believes that these simple words give a sense of grounding and relevance today. Although the words may appear to not have roots in traditional text, its structure was actually inspired by Han Dynasty’s Liu Bang’s poem “Song of the Great Wind” (Dafeng ge大风歌). As Liu Ban uses the three words “The Clouds Rose on High” (yun feiyang云飞扬), Chen too, took liberties in creating a similar syntax with “The Heart Dances and Leaps” (xin feiwu心飞舞). Innovating from the structure of this poem, Chen offers her new interpretation and draws from the spirit of TENG’s musical ethos - the re-imagination of tradition.\r Movement 3. “Mankind” (Ren人) – For Sheng, Erhu, Cello, Guitar, Keyboard & Electronics. The Erhu solo piece written by Hua Yanjun, commonly known as Ah Bing 阿炳 (1893 – 1950) “Reflection of the Moon on Erquan Spring” (Er quan ying yue二泉映月) is the melodic inspiration for the third movement. Ah Bing became a blind and destitute busker in the later stages of his life and wrote the piece to illustrate his grief and bitterness due to the severe challenges that came in his life. The thematic material of the piece is split into three phrases: the first phrase is written to be soft and soothing; the second illustrating agitation and aggression, while the third and final phrase evokes feelings of agony and utter despair. TENG portrays its signature fusion style by incorporating a jazz style of Blues into the piece. In the West, Blues are sung laments and the combination of the musical styles, add to the fragility of mankind portrayed in TENG’s interpretation. The fluctuating movements in this piece are profound and philosophical which guides the listener to close their eyes and find the depiction of mountains, waters, skies, and earth within the music. Chen Liang creates the two characters jing guan 静观 (observe calmly/mindfulness) using her left hand. The work presents the idea of guidance by “stillness” (jing 静) and “observation” (guan 观) through the hustle and bustle of mankind in modern day. Chen recalls the memories of the Erhu solo, “Reflection of the Moon on Erquan Spring”, to be one of her father’s favourite pieces when she was a child. The fluctuating movements in the piece are profound and philosophical. The listener naturally closes their eyes to find the depiction of mountains, waters, skies, and earth within the music. \r Movement 4. Unity (He合) – For Voice, Sheng, Pipa, Guzheng, Erhu, Cello, Guitar & Electronics. This movement is an original composition written for the entire TENG Ensamble. This composition drew its inspiration from the legendary Chinese martial Pipa solo, “Ambush from Ten Sides” (Shi mian mai fu 十面埋伏), reproducing the “Wu” 武 or martial style gestures, recalling the Battle of Gaixia in 202 BC during which General Xiang Yu 項羽 (c. 232–202 BC ) was defeated by Liu Bang 劉邦 (256 – 195 BC). The piece was based on the textural aggressiveness of Ambush and unifies the ensemble through the rhythmic, harmonic, and melodic elements of the music. The composer uses polyrhythms, constant meter changes, as well as the constant passing of melodic lines between different instruments to show the co-operation within the ensemble. These challenging characteristics make the piece technically demanding and virtuosic. The effect from the electronics enhances the intensity of the music and showcases a fusion of both traditional and contemporary elements. To Chen Liang, this piece captures the unification of both the musical and calligraphic worlds. The energetic and tenacious nature thus inspired Chen Liang to brush the words “Endlessness” (Shengsheng bu xi 生生不息). At first glance, “Ambush” can be interpreted as a state in war, but from a broader perspective, it can also be the representation of the never-ending cycle of collisions between the old and the new. The cycle of growth and development and reincarnation aligns with the philosophy of Laozi’s Dao De Jing: “Yisheng er, er sheng san, san sheng wanwu 一生二， 二生三， 三生万物” (One begets Two (Yin and Yang), Two begets Three (Heaven, Earth and Mankind; or Yin, Yang and Qi), Three begets all things). It is with this ideology that the words “Sheng sheng bu xi 生生不息” (Endlessness) were befitting for this final movement.\r It is interesting to note how the performance is made up of videos in post-production, themselves conceived as a performative concept. What the TENG company explains is that this video mode allows you to focus on more details, zoom in on a calligraphic detail or an overview of the artists that a live performance, according to the musicians, would not allow. This involves, however, a temporal lag as regards the duration of the calligraphic performance (which is slower in the execution) while the musical performance seen in post-production is more faithful to the real time in which the performance was executed. Also interesting are the cover arts, in which each movement has its own logo created through a Chinese character (corresponding to that movement) and the representation of a surrealistic playground with delicate steps and passageways coiling around a monolithic structure - a symbol of roots and tradition. An exquisite balance of opposites exemplifies the work that TENG does, depicting how it achieves equilibrium between its traditional and contemporary influences, the east and the west. The cover art of the performance is also created “in full” thus combining all four movements represented by the different four characters that make up the performance: tian 天, di 地, ren 人, he 合. As Samuel Wong explained:\r "We wanted to show the interconnection between nature and man and between heaven and earth. The search for the “celestial” element passes through the “earthly” element: the building and the steps designed by man. The steps can be used both to go up and down, thus interconnecting the earth with heaven. This implies that we are all interconnected with each other, as part of humanity and nature. And here is the concept of final ‘unity’" (interview 2024).""" ; write:hasChineseConcept ; write:hasPerformingArtworkType ; write:hasUnit , , , ; write:madeUsingTool wd:Q614467 . a wd:Q184485 ; wdt:P1132 6 ; wdt:P1303 , , ; wdt:P1476 "Understanding the Twelve Beauty of Jinling (领悟金陵十二金钗)"@en, "领悟金陵十二金钗"@zh, "Lǐngwù Jīnlíng shí'èr jīn chāi"@zh-Latn ; wdt:P175 , , , , , ; wdt:P180 , , , ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P276 ; wdt:P585 "2017-11-25"^^xsd:date ; wdt:P941 ; sch:thumbnailUrl ; write:calligrapher , , ; write:createsArtwork ; write:description """This performance took place at the Yulan Grand Theatre of Dongguan, on November, 25, 2017. In this performance, Pu Lieping together with other two calligraphers Wang Xiaoming 王晓明 and Wang Yong 王勇, painted in black ink the names of the “Twelve Beauties of Jinling” (Jinling shi’er chai 金陵十二钗) of the work “Dream of the Red Chamber” (Honglou Meng 红楼梦), a novel composed by Cao Xueqin 曹雪芹 (1710 - 1765) in the middle of the 18th century. On the notes of three traditional instruments such as the guqin 古琴 (a seven-stringed plucked instrument), the erhu 二胡 (a two-stringed bowed instrument) and the hengdi 横笛 (bamboo flute), played respectevely by Wang Kexun 王可逊, Ouyang Mingqiao 欧阳铭桥 and Liu Hanchao 刘汉超 the three calligraphers painted, on six different panels, the names of: Lin Daiyu 林黛玉, Xue Baochai 薛宝钗, Jia Yuanchun贾元春, Jia Tanchun 贾探春, Shi Xiangyun 史湘云, Miaoyu 妙玉, Jia Yingchun 贾迎春, Jia Xichun 贾惜春, Wang Xifeng 王熙凤, Jia Qiaojie 贾巧姐, Li Wan 李纨 and Qin Keqing 秦可卿. \r The music played by the musicians are the three most famous songs created for the tv series inspired by the novel in the ‘80: Daguan honglou大观红楼 (A Grand View of the Red Chamber), Honglou xuqu 红楼序曲 (Dream of the Red Chamber Overture) and Zang hua yin 葬花吟 (Song of Flower Burial). At first, all three calligraphers use black ink to complete their creation later by filling everything using the colours blue, green, brown, orange and red. """@en ; write:hasChineseVisualElement ; write:hasMusicStyle ; write:hasPerformingArtworkType ; write:hasUnit ; sch:image ; write:madeUsingTool wd:Q614467 . rdfs:label "Tang poetry" . rdfs:label "violet" . rdfs:label "woman" . rdfs:label "Chinese calligraphy" . rdfs:label "Li Bai" . rdfs:label "beauty" . rdfs:label "gothic calligraphy" . rdfs:label "writing" . rdfs:label "landscape" . rdfs:label "New York" ; wdt:P625 "Point(-75 43)"^^geosparql:wktLiteral . rdfs:label "interculturalism" . rdfs:label "gold" . rdfs:label "movement" . rdfs:label "chisel" . rdfs:label "digital art" . a wd:Q215627 ; wdt:P103 ; wdt:P106 , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Feng Mengbo 冯梦波" ; wdt:P27 ; wdt:P569 "1966"^^xsd:gYear ; wdt:P800 , , , , , , ; wdt:P856 , ; wdt:P937 , ; sch:thumbnailUrl ; write:description "Feng Mengbo was born in Beijing in 1966. He graduated from the Design Department of Beijing School of Arts & Crafts in 1987 and from the Printmaking Department of Central Academy of Fine Arts in 1991. He is now a professor at the Digital Media Studio of the Central Academy of Fine Arts (Zhongyang meishu xueyuan shuma meiti gongzuoshi 中央美术学院数码媒体工作室) in Beijing. In the 1990s, he was among the first artists in China to experiment digital technology. His practice extends to new media art and interactive installations." ; write:hasCalligraphicTraining "Not present"@en ; write:hasWikidataResource ; sch:image ; write:isDesignerOf . a wd:Q184485 ; wdt:P1132 4 ; wdt:P1303 ; wdt:P1476 "Sound MAP"@en ; wdt:P175 , , , ; wdt:P180 , , , , , , ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P2047 "PT45M"^^xsd:duration ; wdt:P276 , ; wdt:P585 "2023-10-12"^^xsd:date ; wdt:P608 ; wdt:P664 , ; wdt:P856 , , ; wdt:P86 ; wdt:P941 , ; sch:thumbnailUrl , , ; write:calligrapher , ; write:createsArtwork , ; write:description "“Sound MAP (Musicalligraphy Augmented Performance)” is a multidisciplinary performance of calligraphy, music, dance, and augmented reality that was held on 12 October 2023 at the International Museum and Library of Music in Bologna during the opening of the exhibition “Sounds of Ink: Luo Qi and 30 Years of Calligraphyism” (12 October – 5 November 2023). The performance involved two calligraphers, Luo Qi 洛齐 (b. 1960) and Silvio Ferragina (b. 1962), the pianist and impro-performer Giusy Caruso (b. 1976), the contemporary dancer Agnese Gabrielli (b. 1997) and the Chinese composer Zhang Zhenzhen 张桢珍 (b. 1987) with the technological support of the Milan-based firm LWT3. The performance was divided into three main parts: in the first part, starting from the silence, the pianist began to “act” on the piano, firstly plucking the piano strings and creating distortion effects on them and then doing improvisations using both keyboard and strings; her gestures were inspired by the gestures of the calligraphy master Luo Qi who in the meanwhile wrote on a rice paper scroll sticking out of the piano the four characters of the title of the exhibition (shuimo shengyin 水墨声音) using his personal style. When he finished, he began to “translate” the music into concatenations of calligraphic signs inspired by the oldest Chinese musical notation system, the “Dunhuang music score”, reshaping it according to his personal and original interpretation and transforming it into a “visual and visible musical score,” strongly rhythmic and dynamic, with an inextricably calligraphic thread. In the second part of the performance, the pianist played the contemporary piece “Shadows” (2012) by the Chinese composer Zhang Zhenzhen, interacting with the improvisation of the dancer who moved her body in consonance with the music rhythm and the pianist’s gestures. In the last part of the performance, the Italian calligrapher Silvio Ferragina wrote the 18 characters “Fu zhi zai shan shui, qin biao qi qing, kuang xing zhi bi duan, li jiang yan ni 夫志在山水，琴表其情，况形之笔端，理将焉匿” (If it is possible for a man’s impressions of mountains and rivers to find expression in his lute playing, how much easier it must be to depict physically tangible forms with a brush, from which no inner feeling or idea can be successfully hidden)， from the classical literary work entitled “The Literary Mind and the Carving of Dragons” (Wen xin diao long 文心雕龍) by Liu Xie 劉勰 (ca. 465–522), using seal script and its pictographic forms. The text creates a similarity between music and the art of the brush which, thanks to their expressiveness, transform every type of vision, feeling and human idea into art. The interaction between these two artforms is exactly what was acted out on stage: while the calligrapher was shaping the 18 characters on a 15-meter-long scroll placed at the center of the room, the pianist was playing a musical score (with also improvisations) that is the translation in music of the strokes of those characters. This translation follows the strict rules of a sophisticated mathematical system called “Musicalligraphy Project” (2013-ongoing) designed by Silvio Ferragina, that convert the strokes of the characters and the blank spaces between them into musical notations and pauses. In this way, for the first time the calligrapher and the musician play the same “musicalligraphic score”. In this last part of the performance, technology was also part of the action: while the calligrapher was writing, the characters he wrote were projected on a screen placed in the background of the stage. Thanks to a sensor placed on the brush, the movement of the calligrapher’s wrist interacted with the projected characters that were deformed based on the calligraphic gesture. The pianist has also a sensor on her wrist that modified the movement of the projected characters in accordance with her gestures, generating electronic sounds. In this performance, all the actors performed and embodied the strict correlation between Chinese writing, gesture, music, and visuals, creating a real osmosis among calligraphy, music, and body movement, and demonstrated the creative potential of the Chinese calligraphy art even using augmented reality. "@en ; write:hasPerformingArtworkType ; write:hasUnit , , ; sch:image , , ; write:madeUsingTool wd:Q614467 ; sch:video . rdfs:label "clothing" . rdfs:label "Guangzhou" ; wdt:P625 "Point(113.26 23.13)"^^geosparql:wktLiteral . rdfs:label "landscape painting" . rdfs:label "Chengdu" ; wdt:P625 "Point(104.06333333333333 30.66)"^^geosparql:wktLiteral . rdfs:label "performing artist" . rdfs:label "roller style" . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Chu Chu 储楚" ; wdt:P27 ; wdt:P569 "1975"^^xsd:gYear ; wdt:P800 , , , , , , , , , ; wdt:P812 , ; wdt:P856 ; wdt:P937 ; sch:thumbnailUrl ; write:description "Chu Chu (b. 1975) is a female artist whose holistic worldview is expressed through the union of photography, calligraphy and painting. Chu Chu is a prolific artist whose creative process is based on constant observation of the world, inner and outer, where feelings and thoughts originate. The latter are the preparatory engines for the creation of innovative works in which photography and calligraphy combine highlighting tangibility through the portrayed image, the imperceptibility of feelings through the use of ink and the instantaneousness of time with photography. Originally from Hangzhou, Zhejiang Province, she has been exposed to the world of art from an early age. She learned painting from her father, who was a sculptor and a cartoonist. At the age of seven, she began the study of calligraphy. During the period of her doctoral research, she was supervised by the calligrapher Wang Dongling. Chu Chu is currently a professor at the China Academy of Art and Zhejiang University and a researcher emeritus of the Sanshou Calligraphy Society. Her background is not limited to the field of art, but she is familiar with literature, philosophy and poetry, which she incorporates into her works. She has exhibited her works at several solo exhibitions dedicated in China and abroad, particularly in the United States and Japan, but also in Germany and France (e.g. Art Basel, Frieze Art Fair, and Paris PHOTO)." ; write:hasCalligraphicTraining "Academic"@en, "Self-Taught"@en ; sch:image . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , , ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Li Xinmo 李心沫" ; wdt:P27 ; wdt:P453 , , , , ; wdt:P569 "1976"^^xsd:gYear ; wdt:P800 , ; wdt:P812 ; wdt:P856 ; wdt:P937 , , ; sch:thumbnailUrl ; write:description "Artist, critic, feminist theory researcher, Li Xinmo was born in Heilongjiang and graduated from Tianjin Academy of Fine Arts in 2008. Li Xinmo works, based on a variety of media, including performance, painting, video, photography, and installations, have been exhibited in Toronto Photo Biennial, Prague Art Biennial, National Museums of World Culture in Sweden, Female Museum in Germany. Many other art museums and galleries in France, Italy, America, Canada, and Columbia have exhibited and collected her works. Her work has been documented in academic articles including the “National Fine Arts”, “Oriental Art for Everyone” and other art professional publications"@en ; write:hasCalligraphicTraining "Academic"@en ; sch:image ; write:isCalligrapherOf , , , , . rdfs:label "Lantingji Xu" . rdfs:label "Macau" ; wdt:P625 "Point(113.53805555555556 22.19)"^^geosparql:wktLiteral . rdfs:label "repetition" . rdfs:label "interaction" . rdfs:label "painter" . rdfs:label "harmony" . rdfs:label "stone" . rdfs:label "Italy" ; wdt:P625 "Point(12.5 42.5)"^^geosparql:wktLiteral . rdfs:label "ephemeral", "ephemerality" . rdfs:label "pictogram" . rdfs:label "Heart Sutra" . rdfs:label "Italian" . rdfs:label "animal" . rdfs:label "Buddhism" . rdfs:label "Chinese emotional graffiti" . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Qiu Zhenzhong 邱振中" ; wdt:P27 ; wdt:P569 "1947"^^xsd:gYear ; wdt:P800 , , , , , , , , , , , ; wdt:P812 ; wdt:P856 ; wdt:P937 ; sch:thumbnailUrl ; write:description "Qiu Zhenzhong was born in Nanchang, Jiangxi Province in 1947. He graduated with a Master of Arts degree from the Zhejiang Academy of Fine Arts (now China Academy of Art) in 1981. He is Professor of Calligraphy at the China Academy of Fine Arts (CAFA) in Beijing. He also serves as Director of the Center for Comparative Research on Calligraphy and Painting at CAFA and Director of the Orchid Pavilion School of Calligraphy in Shaoxing. He is Vice President of Pan Tianshou Research Association and a member of the Chinese Calligraphy Expert Committee of the China National Museum of Art (NAMOC). In 2008 he was appointed as consultant for Chinese calligraphy and painting at the Opening Ceremony of the Beijing Olympic Games. He is recognized as one of the leading figures in Chinese modern calligraphers. He has held numerous solo exhibitions in China and internationally. Major exhibitions include The First Four Series – Calligraphy by Qiu Zhenzhong (Zuichu de si ge xilie: Qiu Zhenzhong shufa zuopin zhan 最初的四个系列——邱振中书法作品展) at the National Art Museum of China (1989) and a solo show (Qiu Zhenzhong shufa zuopin zhan 邱振中书法作品展) at Galerie Saint-Légar in Geneva, Switzerland (1996). He is also the author of numerous influential publications on the theory and practice of Chinese calligraphy." ; write:hasCalligraphicTraining "Academic"@en ; sch:image . a wd:Q7725634 ; wdt:P1476 "Heart Sutra (心经)"@en, "心经"@zh, "Xīn Jīng"@zh-Latn ; write:description """The Heart Sūtra ( Xīnjīng 心经) is a popular sutra in Mahāyāna Buddhism. In Sanskrit, the title Prajñāpāramitāhṛdaya translates as "The Heart of the Perfection of Wisdom". \r According to traditional accounts, the Heart Sūtra was composed by a Sarvastivadan monk in the 1st century CE in Kushan Empire territory, and it was first translated into Chinese in approximately 200-250CE. However, there is currently a lack of scholarly consensus on the original author and origin of the Heart Sutra. Contemporary scholar Jan Nattier (1992) theorizes (based on her study of Chinese and Sanskrit texts) that the Heart Sutra may have initially been composed in China. Other scholars, such as Fukui, Harada, Ishii and Siu, based on their study of Chinese and Sanskrit texts of the Heart Sutra and other medieval period Sanskrit Mahayana sutras, theorize that the Heart Sutra could not have been composed in China but was composed in India.\r The Sutra famously states, "Form is emptiness (śūnyatā), emptiness is form." It is a condensed exposé on the Buddhist Mahayana teaching of the Two Truths doctrine, which says that ultimately all phenomena are Śūnyatā (emptiness). It has been called "the most frequently used and recited text in the entire Mahayana Buddhist tradition." \r The Heart Sutra is said to present the heart, or the essence, of the Prajnaparamita teachings, which are the definitive teachings on the Mahayana view of the interdependent nature of reality. The Prajnaparamita teachings as a whole comprise a large corpus of literature, including sutras of great length, and many commentaries by great masters of India, East Asia and Tibet. These teachings are revered within the Mahayana tradition as representing the highest, most subtle view of the nature of reality. The Heart Sutra, which is no more than a page in length, presents an essential summary of this view. The Heart Sutra is the most well-known and most commonly recited Mahayana sutra, particularly in East Asia, where it is common for monks and lay practitioners to recite the Heart Sutra daily. Thupten Jinpa writes: “Even today, the chanting of this sutra can be heard in Tibetan monasteries, where it is recited in the characteristically deep overtone voice, in Japanese Zen temples, where the chanting is done in tune with rhythmic beating of a drum, and in Chinese and the Vietnamese temples, where it is sung in melodious tunes.”\r Chanting the Heart Sutra is a popular Buddhist practice in East Asia for several reasons. First, it is one of the shortest sacred texts, which makes it convenient for even people who lead busy lives. Despite being short, it’s very condensed: it can be easily considered to contain the very essence of Buddhist wisdom. Hence the full title: The Heart (essence) of the Perfection of Wisdom (Prajnaparamita).\r Second, it’s a sutra whose main character is Guanyin Bodhisattva (appearing with another name, Guanzizai (观自在), which is another Chinese translation of the Sanskrit Avalokitesvara. Guanyin, the personification of the Buddhist ideal of Compassion, often seen as a mother-figure is immensely popular among practitioners. This adds to the popularity of the Heart Sutra as well.\r \r """@en ; write:hasWikidataResource ; write:transcriptionAndTranslation """When Avalokiteshvara Bodhisattva was practicing the profound prajnaparamita, he illuminated the five skandhas and saw that they are all empty, and he crossed beyond all suffering and difficulty.\r Shariputra, form does not differ from emptiness; emptiness does not differ from form. Form itself is emptiness; emptiness itself is form. So, too, are feeling, cognition, formation, and consciousness.\r Shariputra, all dharmas are empty of characteristics. They are not produced. Not destroyed, not defiled, not pure, and they neither increase nor diminish.\r Therefore, in emptiness there is no form, feeling, cognition, formation, or consciousness; no eyes, ears, nose, tongue, body, or mind; no sights, sounds, smells, tastes, objects of touch, or dharmas; no field of the eyes, up to and including no field of mind-consciousness; and no ignorance or ending of ignorance, up to and including no old age and death or ending of old age and death. There is no suffering, no accumulating, no extinction, no way, and no understanding and no attaining.\r Because nothing is attained, the Bodhisattva, through reliance on prajna paramita, is unimpeded in his mind. Because there is no impediment, he is not afraid, and he leaves distorted dream-thinking far behind. Ultimately Nirvana!\r All Buddhas of the three periods of time attain Anuttarasamyaksambodhi through reliance on prajnaparamita. Therefore, know that prajna paramita is a great spiritual mantra, a great bright mantra, a supreme mantra, an unequaled mantra. It can remove all suffering; it is genuine and not false. That is why the mantra of prajna paramita was spoken. Recite it like this:\r Gate gate paragate parasamgate bodhi svaha!\r Gate gate paragate parasamgate bodhi svaha!\r Gate gate paragate parasamgate bodhi svaha!\r (Translators: YIFA Venerable, OWENS M.C., ROMASKIEWICZ P.M.)"""@en, "觀自在菩薩，行深般若波羅蜜多時，照見五蘊皆空，度一切苦厄。舍利子！色不異空，空不異色；色即是空，空即是色，受想行識亦復如是。舍利子！是諸法空相，不生不滅，不垢不淨，不增不減。是故，空中無色，無受想行識；無眼耳鼻舌身意；無色聲香味觸法；無眼界，乃至無意識界；無無明，亦無無明盡，乃至無老死，亦無老死盡；無苦集滅道；無智亦無得。以無所得故，菩提薩埵。依般若波羅蜜多故，心無罣礙；無罣礙故，無有恐怖，遠離顛倒夢想，究竟涅槃。三世諸佛，依般若波羅蜜多故，得阿耨多羅三藐三菩提。故知：般若波羅蜜多是大神咒，是大明咒，是無上咒，是無等等咒，能除一切苦，真實不虛。故說般若波羅蜜多咒，即說咒曰：揭諦揭諦，波羅揭諦，波羅僧揭諦，菩提薩婆訶。"@zh, "观自在菩萨，行深般若波罗蜜多时，照见五蕴皆空，度一切苦厄。舍利子！色不异空，空不异色；色即是空，空即是色，受想行識亦复如是。舍利子！是诸法空相，不生不灭，不垢不净，不增不减。是故，空中无色，无受想行识；无眼耳鼻舌身意；无色声香味触法；无眼界，乃至无意识界；无无明，亦无无明尽，乃至无老死，亦无老死盡；无苦集滅道；无智亦无得。以无所得故，菩提薩埵。依般若波罗蜜多故，心无罣礙；无罣礙故，无有恐怖，远离颠倒梦想，究竟涅槃。三世诸佛，依般若波罗蜜多故，得阿耨多罗三藐三菩提。故知：般若波罗蜜多是大神咒，是大明咒，是无上咒，是无等等咒，能除一切苦，真实不虚。故说般若波罗蜜多咒，即说咒曰：揭諦揭諦，波罗揭諦，波罗僧揭諦，菩提萨婆訶。"@zh, """Guān zìzài púsà, xíng shēn bōrě bōluómì duō shí, zhàojiàn wǔyùn jiē kōng, dù yīqiè kǔ è. Shèlì zi! Sè bù yì kōng, kōng bù yìsè; sèjíshìkōng, kōngjíshìsè, shòu xiǎng xíng shí yì fù rúshì. Shèlì zi! Shì zhū fǎ kōng xiāng, bù shēng bùmiè, bù gòu bù jìng, bù zēng bù jiǎn. Shì gù, kōngzhōng wúsè, wú shòu xiǎng xíng shí; wú yǎn ěrbí shé shēn yì; wúsè shēng xiāngwèi chù fǎ; wú yǎnjiè, nǎizhì wúyìshí jiè; wú wúmíng, yì wú wúmíng jǐn, nǎizhì wú lǎosǐ, yì wú lǎosǐ jǐn; wú kǔ jí miè dào; wú zhì yì wú dé. Yǐ wú suǒdé gù, pútí sà duǒ. Yī bōrě bōluómì duō gù, xīn wú guà ài; wú guà ài gù, wú yǒu kǒngbù, yuǎnlí diāndǎo mèngxiǎng, jiùjìng nièpán. Sānshì zhū fú, yī bōrě bōluómì duō gù, dé ā nòu duō luó sān miǎo sān pútí. Gùzhī: Bōrě bōluómì duō shì dàshén zhòu, shì dàmíng zhòu, shì wú shàng zhòu, shì wú děng děng zhòu, néng chú yīqiè kǔ, zhēnshí bù xū. Gù shuō bōrě bōluómì duō zhòu, jí shuō zhòu yuē: Jiē dì jiē dì, bō luó jiē dì, bō luó sēng jiē dì, pútí sà pó hē.\r """@zh-Latn . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Pu Lieping 濮列平" ; wdt:P27 ; wdt:P453 , , ; wdt:P569 "1959"^^xsd:gYear ; wdt:P800 , , , , , ; wdt:P937 ; sch:thumbnailUrl ; write:description """Pu Lieping was born in Chengdu, Sichuan Province, in 1959. His early life was deeply affected by the Cultural Revolution; at the age of eight, he witnessed his father being humiliated by the Red Guards. In 1980, Pu began private calligraphy studies with renowned calligrapher Bai Yunshu. A year later, at just twenty-two, he was recognized as one of the top ten calligraphers in the province.\r Deeply inspired by historical masters Mi Fu and Huaisu, Pu sought to blend the richness of Chinese calligraphic tradition with a contemporary artistic language. Influenced by Gu Gan’s seminal book "The Formation of Modern Calligraphy" (1986), he explored ways to use calligraphy as a means of expressing cultural essence in a modern context. Over time, he moved away from readable characters, finding their form limiting to creative expression. In the 1980s, he developed the concept of "Visual Music," using distorted, expressive characters to evoke rhythm and movement akin to musical composition.\r In 2000, he introduced a new technique based on calligraphic brushstrokes structured into dynamic compositions. Pu describes himself as a "Chinese character artist, critic, and designer." He is currently Director of both the "Research Centre for Chinese Character Ceramic Art" in Jingdezhen and the "Beida Peiwen Chinese Character Art Research Centre" in Beijing, the latter founded by him in 2017.\r Pu Lieping curated the influential "Bashu Parade: 99 Retrospective Exhibition of Modern Chinese Calligraphy" in Chengdu (1999), and in 2002 participated in "Brushes with Surprise: The Art of Calligraphy in Modern China" at the British Museum. Together with Gu Gan, he introduced the concept of "Chinese Character Art" ("Hanzi Yishu"), which he has since promoted through education, exhibitions, and theoretical research. In 2004, he began teaching this concept at Peking University’s Resource College of Fine Arts and has worked to globalize it since 2009.\r He is also the author of key texts such as "A Brief History of Modern Chinese Calligraphy to the Art of Chinese Characters (1985–2016)" and "Evaluation of Modern Calligraphy," and the founder of the journal "Art of Chinese Characters.\""""@en ; write:hasCalligraphicTraining "Academic"@en ; write:hasWikidataResource ; sch:image ; write:isCalligrapherOf , , . rdfs:label "cross-cultural communication" . rdfs:label "photograph" . rdfs:label "paint roller" . rdfs:label "puppet style" . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Gu Wenda 谷文达" ; wdt:P27 ; wdt:P453 ; wdt:P569 "1955"^^xsd:gYear ; wdt:P800 , , , , , , , , , ; wdt:P812 , , ; wdt:P856 ; wdt:P937 , , ; write:description "Gu Wenda, born in 1955 in Shanghai, is a Chinese artist known for his conceptual ink art. He graduated from the Shanghai School of Arts in 1976 and received a Master of Fine Arts from the China Academy of Art (CAA) in 1981. Gu Wenda gained international recognition in the mid-1980s for his first exhibition in Xi'an, where he introduced his invented calligraphic characters, a hallmark of his work. After moving to the USA in 1987, he became a full-time artist and has since created influential pieces that blend his Asian heritage with global themes." ; write:hasCalligraphicTraining "Academic"@en . a wd:Q184485 ; wdt:P1132 6 ; wdt:P1476 "Chinese Calligraphy, Music, and Dance Concert at Sadler's Wells (萨德勒之井中国书法、音乐和舞蹈音乐会)"@en, "萨德勒之井中国书法、音乐和舞蹈音乐会"@zh, "Sàdélēi zhī jǐng Zhōngguó shūfǎ, yīnyuè hé wǔdǎo yīnyuè huì"@zh-Latn ; wdt:P175 , , , ; wdt:P180 , , ; wdt:P186 wd:Q11472, wd:Q127418 ; wdt:P2047 "PT2H5M"^^xsd:duration ; wdt:P276 , ; wdt:P585 "2012-08-10"^^xsd:date ; write:calligrapher ; write:createsArtwork , , , , , ; write:description """Offering a unique and inspiring night at Sadler’s Wells in London on August 10, 2012, this concert, commissioned by the Chinese government to honour the Summer Olympic Games, combines traditional Chinese calligraphy and modern ballet, featuring a live performance again from the Chinese calligrapher Li Binquan, accompanied by the New London Orchestra under the direction of Ronald Corp OBE, and the Chantry Dance Company of London. The performance is a one-night only show at Sadler’s Wells on the main stage. Here Chinese calligraphy is combined with modern dance, mixing a synergy of Eastern and Western culture. As calligraphy can be seen as visual interpretation of dance on paper, so the movements of a ballet dancer reflect the beauty and aesthetics of calligraphy. The New London Orchestra played various pieces of well-known Western music, mixed with traditional Chinese ones (accompanied with the guqin). Accompanied by these different melodies and compositions, Master Li Binquan realizes his calligraphies. To four of the pieces played by the orchestra, dancers from the Chantry Dance Company performed contemporary dance choreographies inspired by the movements and lines of Master Li’s calligraphy.\r The pieces that Chantry Dance performed in are: \r 1) “Die Libelle, Polka-Mazurka”, by Josef Strauss\r 2) “Soirées Musicales (Tarantella and Canzonetta)” by Benjamin Britten\r 3) “The Haunted Ballroom” by Geoffrey Toye\r 4) “On Hearing the First Cuckoo in Spring”, by Frederick Delius. \r In the pieces from Soirees Musicales, the dancers’ movements represent the techniques employed by the calligrapher. The "Tarantella" choreography is inspired by the straight lines, flicking, and dabbing of the brush, and the "Canzonetta" choreography is inspired by the circular technique and the manipulation of the brush by the artist. The choreography for “On Hearing the First Cuckoo in Spring” represents the meditative/flow state the artist experiences when writing calligraphy. The choreography was partly inspired by the shapes of specific calligraphy characters, which influenced the type of movements created. Sequences of movement were then developed to accompany the music. In this process, characters from each of the poems they danced to were used as starting points for the movement, and the work was further developed in conjunction with the music. The Chantry Dance, on the other hand, only uses characters from the poems that Master Li was working with. He has his own unique style, based on the cao shu (cursive) style.\r Chantry Dance had five dancers performing in this occasion: two British, Rae Piper and Louis McMiller; one Italian, Alessia Lugoboni; one Spanish, Melanie Lopez and one Portuguese, Catarina Carvalho. \r Another dance company from Beijing, the Na’er Dance Company (NDC) (Na’er si xiandai wu tuan 娜尔斯现代舞团) under the choreographer Jiang Keyu 蒋可钰 also performed in other pieces of music. During one of these pieces, the Benjamin Britten’s “Midnight Sounds” (Suite), the dancers Na’er Dance Company used body language to express the emotionality of the melody, accompanying the Li Binquan’s calligraphic performance. Another time the Na’er Dance Company performed during the “Qin Song”. In this phase, a roll of paper is wrapped around the body of the dancer, who, moving, begins to unroll it, while the calligrapher begins to write on it. The interaction between calligrapher and musicians allows dancers to personally experience the beauty of musical calligraphy and the artistic charm of the integration of calligraphy, music, and dance.\r During the event, Li Binquan wrote different texts such as:\r 1. The phrase “Yingguo Zhongguo youyi wangguchangqing 英国中国友谊万古长青” (Britain-China Friendship will Last Forever) together with the Professor Roger Mason (b.1941) : the first part “Yingguo Zhongguo youyi 英国中国友谊” (Britain-China Friendship) was written by Roger Mason, while the second part “wangguchangqing 万古长青” (will last forever) was written by Li Binquan.\r 2. The poem “Drinking” (Yinjiu 饮酒) by Tao Yuanming 陶渊明 (365 – 427), a famous scholar in the Eastern Jing Dynasty.\r 3. The poem “Prelude to Water Melody” (Shui diao ge tou · mingyue jishi you 水调歌头 · 明月几时有), composed by the Song dynasty poet Su Shi (1036-1101), who wrote these lyrics while he was drunk and missing his younger brother (Su Zhe) on the Mid-Autumn Festival of the year Bingzhen (1076). \r 4. The poem “Drinking Along Under the Moon (Yue xia duzhuo 月下独酌) by Li Bai, about loneliness and companionship, and the way alcohol blurs the line between the two. \r 5. The poem “Qinyuan Spring · Snow” (Qinyuan Chun · Xue沁园春·雪) written during the “Die Libelle, Polka-Mazurka”, by Josef Strauss and composed by Mao Zedong during the Eastern Expedition. \r 6. Some excerpts from “A Tale of Two Cities” (Shuangchengji 双城记) by the English writer Charles Dickens (1812-1870) written in Chinese. One example is: “It was the best of times, it was the worst of times” (in Chinese “Na shi zui meihao de shidai, na shi zui zaogao de shidai 那是最美好的时代、那是最糟糕的时代”). \r """@en ; write:hasChineseConcept , , ; write:hasMusicStyle ; write:hasPerformingArtworkType ; write:hasSongTitle , , , , ; write:hasUnit , , , , , ; write:madeUsingTool wd:Q614467 . rdfs:label "graffiti artist" . rdfs:label "patriarchy" . rdfs:label "Bologna" ; wdt:P625 "Point(11.342777777778 44.493888888889)"^^geosparql:wktLiteral . rdfs:label "love" . rdfs:label "aquamarine" . rdfs:label "silk" . rdfs:label "bubble style / softie" . a wd:Q215627 ; wdt:P103 ; wdt:P106 ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Echo Morgan 谢蓉", "Xie Rong"@zh-Latn ; wdt:P27 ; wdt:P453 , , , , , ; wdt:P569 "1983-05-22"^^xsd:date ; wdt:P800 , , , ; wdt:P812 ; wdt:P856 ; wdt:P937 , ; sch:thumbnailUrl ; write:description """Echo Morgan is the English name of Xie Rong 谢蓉, a Chinese artist born in Chengdu in 1983 and living in London. She moved to UK when she was 19. Echo Morgan works with the stereotypes of “Chineseness” and femininity to revolutionize them. Echo Morgan studied at the High School of the Sichuan Fine Arts Institute before moving to London where she gained a BA in Graphic Design at Central Saint Martins and an MA in Fine Arts at the Royal College of Art. Her work has featured in a debut exhibition “Home家” at the Galerie Huit of Hong Kong, and a group show, Engender, at Alaska Projects, Sydney (both 2017). Her performance works have been seen in China, Sweden and the UK. In her work, she takes on the role of director, performer, narrator, and filmmaker. She collects and collages encounters, voices, texts, images, and objects from my culture roots in China and her daily life in UK. Through the mediums of performance and painting, she explores the intrinsic and complex relationship between violence, beauty, and vulnerability, re-examining how these antipodal constructs impact ideas of the “self” and the body. Her narrative is rooted with her family history, she explores her individual memory that is deeply embodied with China’s complex society – one that had undergone a series of philosophical, ideological and political transformations. She often invites viewers to participate, drawing strength from the audiences’ emotional vulnerability and feelings of uneasiness to complete the performance. Her emotions become entwined with the audiences’, creating a symbiotic relationship based on control and power. Juxtaposing English narration with Chinese traditional songs, she plays with her identity and difficult childhood. She explores the territory between gesture and stillness, between her past and present, between abstract mark making and personal story telling and between public space and intimate privacy. \r In her performamces, Echo Morgan usually writes lyrics about her on her skin using red lipstick, black Chinese ink, jasmine tea-based white “ink”, and her own mother’s milk after giving birth to her second child. She played with chinoiserie tropes, painting her naked body to look like blue-and-white porcelain, and then inviting the audience to violently wash away her motifs by throwing water-filled balloons at her. She narrates her childhood, family, marriage, and motherhood experiences, as well as those of her ancestors. In Echo Morgan’s works her own body, her hair, even her breast milk, become a language; she is writing a woman’s story of suffering with a subtext of strength and courage. She says: “I do really respect the power and strength of women, but I think in my work you see a lot of fragility. And that is how I feel, as a daughter, as a wife, as a mother”. \r Xie Rong has presented performances in gallery spaces, museums and festivals in the UK, France, China, Sweden, Egypt, Germany, Switzerland Australia and Korea. In 2021, the Museum of Far Eastern Art (Israel) dedicated a solo-exhibition to her performance archive. """@en ; write:hasCalligraphicTraining "Present (not specified)"@en ; sch:image ; write:isCalligrapherOf , , . a wd:Q7725634 ; wdt:P1476 "Orchid Pavilion Preface (兰亭序)"@en, "兰亭序"@zh, "Lántíng Xù"@zh-Latn ; wdt:P50 ; wdt:P571 "0353"^^xsd:gYear ; write:description """The calligraphy masterpiece "Lanting Xu 兰亭序" (Orchid Pavilion Preface) was created by Wang Xizhi at the party he organized on the third day of the third month on the Chinese calendar in 353 at the Orchid Pavilion (Lanting 兰亭), at Kuaiji Mountain near today's Shaoxing city in east China's Zhejiang Province. A group of 41 guests gathered for the party, including Wang's younger son, Wang Xianzhi, also a renowned scholar and calligrapher. Everyone was in high spirits because of the beautiful, sunny weather - a rare occurrence for that time of year in the area. As well as chatting about friendships and state affairs, the group held a kind of poem-composing contest. The 41 partygoers sat along the bank of a winding, slow-flowing streamlet, while servants placed goblets of wine on the water's surface and let them float downstream. If a goblet stopped in front of one of the group, they were required to compose a poem on the spot. If they failed, they had to down three goblets of wine as a forfeit. By the end of the day, 11 scholars had each produced two poems, 15 had each composed one poem and the other 16 - including Wang's younger son - who had failed to come up with a poem had knocked back the wine. Then, Wang was asked to write a preface for the 37 poems composed at the Orchid Pavilion. In high spirits, he immediately penned the famous "Lanting Xu" off-the-cuff, in 28 lines and 324 Chinese characters. \r """@en ; write:hasWikidataResource ; write:transcriptionAndTranslation """It is the ninth year of Emperor Mu of Jin's Yonghe era \r The year of the Yin Water Ox,\r At the beginning of the third lunar month,\r We are all gathered at the orchid pavilion in Shanyin County, Guiji Commandery,\r For the Spring Purification Festival.\r All of the prominent people have arrived,\r From old to young.\r This is an area of high mountains and lofty peaks,\r With an exuberant growth of trees and bamboos,\r It also has clear rushing water,\r Reflecting the sunlight as it flows past either side of the pavilion.\r The guests are seated side by side to play the drinking game where a wine cup is floated down the stream and the first person sitting in front of the cup when it stops must drink.\r Although we lack the boisterousness of a live orchestra,\r With a cup of wine here and a reciting of poetry there, it is sufficient to allow for a pleasant exchange of cordial conversations.\r Today, the sky is bright and the air is clear,\r With a gentle breeze that is blowing freely. When looking up, one can see the vastness of the heavens,\r And when looking down, one can observe the abundance of things. The contentment of allowing one’s eyes to wander,\r Is enough to reach the heights of delight for the sight and sound. What a joy.\r Now all people live in this world together,\r Some will take all of their aspirations, and share them in private with a friend;\r Still others will abandon themselves to reckless pursuits.\r Even though everyone makes different choices in life, some thoughtful and some rash,\r When a person meets with joy, he will temporarily be pleased,\r And will feel content, but he is not mindful that old age will soon overtake him.\r Wait until that person becomes weary, or has a change of heart about something,\r And will thus be filled with regrets.\r The happiness of the past, in the blink of an eye,\r Will have already become a distant memory, and this cannot but cause one to sigh;\r In any case, the length of a man’s life is determined by the Creator, and we will all turn to dust in the end.\r The ancients have said, "Birth and Death are both momentous occasions."\r Isn’t that sad!\r Every time I consider the reasons for why the people of old had regrets,\r I am always moved to sadness by their writings,\r And I can not explain why I am saddened.\r I most certainly know that it is false and absurd to treat life and death as one and the same,\r And it is equally absurd to think of dying at an old age as being the same as dying at a young age.\r When future generations look back to my time, it will probably be similar to how I now think of the past.\r What a shame! Therefore, when I list out the people that were here,\r And record their musings, even though times and circumstances will change,\r As for the things that we regret, they are the same.\r For the people who read this in future generations, perhaps you will likewise be moved by these words."""@en, """永和九年，\r 歲在癸丑，\r 暮春之初， \r 會于會稽山陰之蘭亭， \r 脩禊事也。 \r 群賢畢至， \r 少長咸集。 \r 此地有崇山峻領，\r 茂林修竹，\r 又有清流激湍，\r 映帶左右。 \r 引以為流觴曲水，列坐其次； \r 雖無絲竹管弦之盛，\r 一觴一詠，亦足以暢敘幽情。 \r 是日也，天朗氣清，\r 惠風和暢，仰觀宇宙之大， \r 俯察品類之盛，所以遊目騁懷，\r 足以極視聽之娛，信可樂也。 \r 夫人之相與俯仰一世， \r 或取諸懷抱，晤言一室之內；\r 或因寄所托，放浪形骸之外。 \r 雖趣舍萬殊，靜躁不同， \r 當其欣于所遇，暫得于己， \r 快然自足，不知老之將至。 \r 及其所之既倦，情隨事遷， \r 感慨係之矣。 \r 向之所欣，俛仰之間， \r 已為陳迹，猶不能不以之興懷； \r 况修短隨化，終期于盡。 \r 古人云﹕「死生亦大矣。」\r 豈不痛哉！ \r 每攬昔人興感之由， \r 若合一契，未嘗不臨文嗟悼， \r 不能喻之于懷。 \r 固知一死生為虛誕，\r 齊彭殤為妄作。 \r 後之視今，亦由今之視昔。\r 悲夫！故列敘時人， \r 錄其所述，雖世殊事異，\r 所以興懷，其致一也。 \r 後之攬者，亦將有感於斯文。"""@zh, """永和九年，岁在癸丑，暮春之初，会于会稽山阴之兰亭，修禊事也。群贤毕至，少长咸集。此地有崇山峻岭，茂林修竹；又有清流激湍，映带左右，引以为流觞曲水，列坐其次。虽无丝竹管弦之盛，一觞一咏，亦足以畅叙幽情。\r 是日也，天朗气清，惠风和畅，仰观宇宙之大，俯察品类之盛，所以游目骋怀，足以极视听之娱，信可乐也。\r 夫人之相与，俯仰一世，或取诸怀抱，悟言一室之内；或因寄所托，放浪形骸之外。虽趣舍万殊，静躁不同，当其欣于所遇，暂得于己，怏（同“快”）然自足，不知老之将至。及其所之既倦，情随事迁，感慨系之矣。向之所欣，俯仰之间，已为陈迹，犹不能不以之兴怀。况修短随化，终期于尽。古人云：“死生亦大矣。”岂不痛哉！\r 每览昔人兴感之由，若合一契，未尝不临文嗟悼，不能喻之于怀。固知一死生为虚诞，齐彭殇为妄作。后之视今，亦犹今之视昔。 [8]悲夫！故列叙时人，录其所述，虽世殊事异，所以兴怀，其致一也。后之览者，亦将有感于斯文"""@zh, """Yǒnghé jiǔ nián,\r suì zài guǐ chǒu,\r mùchūn zhī chū, \r huì yú guì jīshān yīn zhī lántíng, \r xiū xì shì yě. \r Qún xián bì zhì, \r shǎo zhǎng xián jí. \r Cǐdì yǒu chóng shān jùn lǐng,\r mào línxiūzhú,\r yòu yǒu qīngliú jī tuān,\r yìng dài zuǒyòu. \r Yǐn yǐ wéi liúshāng qū shuǐ, liè zuò qícì; \r suī wú sīzhú guǎnxián zhī shèng,\r yī shāng yī yǒng, yì zúyǐ chàngxù yōuqíng. \r Shì rì yě, tiān lǎng qì qīng,\r huìfēng hé chàng, yǎng guān yǔzhòu zhī dà, \r fǔchá pǐnlèi zhī shèng, suǒyǐ yóu mù chěng huái,\r zúyǐ jí shìtīng zhī yú, xìn kělè yě. \r Fūrén zhī xiāng yǔ fǔyǎng yīshì, \r huò qǔ zhū huáibào, wù yán yī shì zhī nèi;\r huò yīn jì suǒ tuō, fànglàngxínghái zhī wài. \r Suī qù shě wàn shū, jìng zào bùtóng, \r dāng qí xīn yú suǒ yù, zàn dé yú jǐ, \r kuài rán zìzú, bùzhī lǎo zhī jiàng zhì. \r Jí qí suǒ zhī jì juàn, qíng suí shì qiān, \r gǎnkǎixìzhī yǐ. \r Xiàng zhī suǒ xīn, fǔ yǎng zhī jiān, \r yǐ wèi chénjì, yóu bùnéng bù yǐ zhī xìng huái; \r kuàng xiū duǎn suí huà, zhōng qī yú jìn. \r Gǔrén yún﹕`sǐshēng yì dà yǐ.'\r Qǐ bù tòng zāi! \r Měi lǎn xī rén xìng gǎn zhī yóu, \r ruò hé yī qì, wèicháng bù lín wén jiē dào, \r bùnéng yù zhī yú huái. \r Gù zhī yī sǐshēng wèi xū dàn,\r qí péng shāng wèi wàng zuò. \r Hòu zhī shì jīn, yì yóu jīn zhī shì xī.\r Bēi fū! Gù liè xù shí rén, \r lù qí suǒ shù, suī shì shū shì yì,\r suǒyǐ xìng huái, qí zhì yī yě. \r Hòu zhī lǎn zhě, yì jiāng yǒu gǎn yú sīwén."""@zh-Latn . rdfs:label "human body" . rdfs:label "dynamism" . rdfs:label "pink" . rdfs:label "seal script" . rdfs:label "wildstyle" . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , , ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Qiu Zhijie 邱志杰" ; wdt:P27 ; wdt:P453 , , ; wdt:P569 "1969"^^xsd:gYear ; wdt:P800 , , , , , , , , ; wdt:P812 ; wdt:P937 , , ; write:description """Qiu Zhijie 邱志杰 was born in Fujian province in 1969. In 1992, he graduated from the printmaking department at Zhejiang Academy of Fine Arts, Hangzhou. He now lives and works in Beijing and is currently a professor at the School of Inter-media Art of China Art Academy, the Director of Total Art Studio and member of the supervisor team in the Art and Social Thoughts Institute. \r As an artist, Qiu Zhijie is known for his calligraphy and ink painting, photography, video, installation and performance works. His art is representational of a new kind of experimental communication between the Chinese literati tradition and contemporary art, social participation and the power of self-liberation of art.\r His works are collected by major museums and institutions around the world, including the Guggenheim Museum in NYC , the Metropolitan Museum of Art, Asian Art Museum of San Francisco, Fondation Louis Vuitton, Foundation by Christian Dior, Ullens Foundation, Neuer Berliner Kunstrerein, and the White Rabbit Gallery in Sydney. He was awarded Artist of the Year of the Award of Art China in 2009.\r He was also the curator of the first video art exhibition in China in 1996, and curated a series of Post-sense Sensibility exhibitions during 1999 and 2005 promoting the young generation of Chinese artists. In 2012 he was the chief curator of the 9th Shanghai Biennale “Reactivation”, in 2017 he is the chief curator of the Chinese Pavilion of the 57th Venice Biennale.\r \r Some of his most important calligraphic works include:\r 1) "Writing the 'Orchid Pavilion Preface' One Thousand Times" (1990-1995), where Qiu Zhijie copies Wang Xizhi's "Lanting xu" a thousand times on a single piece of rice paper, gradually blackening it through repetition. By focusing on the act of writing rather than the content, he explores calligraphy as a form of "written meditation" and critiques cultural orthodoxy and reproduction (see the archive).\r 2) "Ten Tang Poems" (2000-2001) where Qiu Zhijie writes ten Tang Dynasty poems in reverse, with the text and stroke order written from left to right and bottom to top. When the performance video is played backward, the poems are erased as they are written, transforming calligraphy into "anti-calligraphy" (see the archive);\r 3) "Dictionary Series" (2000), where Qiu Zhijie blends a conceptual approach with sophisticated painterly techniques, creating calligraphy that dissolves into the background and overlaps in a way that evokes natural landscapes or phenomena. The works feature characters selected from a dictionary, studied, and reinterpreted through ink painting, with a focus on the diagonal movement in the composition (see the archive);\r 4) "Left/Right: Deviation from the Centre" (2001) held at a museum in Oslo, where Qiu Zhijie is blinded and wears shoes with "right" and "left" engraved on the soles. He must navigate a narrow hallway marked with an ink line, where walking off course leaves shoe prints behind. The performance explores the concept of disorientation, symbolizing how contemporary individuals have lost their sense of direction and certainty (see the archive).\r 5) "Light-writing calligraphy series" (2005-2010) in which Qiu Zhijie reimagines calligraphy by blending traditional techniques with photography and performance. Using light painting, he preserves the performative aspects of calligraphy while introducing new media, site-specific elements, and a different temporality. The resulting works, captured through long exposure, are both calligraphic and photographic, engaging public space and modern distribution methods like social media, offering a more accessible and viral experience compared to traditional calligraphy.\r 6) "Confucianism, Daoism, Buddhism, Shintoism, Zen Buddhism Series" (2017), where the artist creates an archive of esoteric symbols and scriptures from various philosophical and religious traditions. Using a layering process, he carves different scripts into concrete, prints them by rubbing ink onto paper, then covers them with new layers, erasing the previous inscriptions (see the archive).""" ; write:hasCalligraphicTraining "Present (not specified)"@en ; write:hasWikidataResource ; write:isCalligrapherOf , . wd:Q23852 rdfs:label "human body" . rdfs:label "panel" . rdfs:label "multimodality" . rdfs:label "impermanence" . rdfs:label "Milan" ; wdt:P625 "Point(9.19 45.466944444444)"^^geosparql:wktLiteral . rdfs:label "Chinese cursive script" . rdfs:label "public social-political art" . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P1412 ; wdt:P21 ; wdt:P2561 "Wu Xixia 吴析夏" ; wdt:P27 ; wdt:P453 , , , , , ; wdt:P569 "1993"^^xsd:gYear ; wdt:P800 , , , , , ; wdt:P812 ; wdt:P937 ; sch:thumbnailUrl ; write:description """Wu Xixia was born in 1993. She is an installation artist and designer, Co-founder of Macau Kun Studio and Kun Art &Culture (Zhuhai Hengqin). She graduated in Master of Fine Arts from the University of Massachusetts Dartmouth, her study focus on feminist philosophy, and she is currently studying for a PhD in Fine Arts (Theory of Art History) at the Macao University of Science and Technology. PhD. Her study focuses on "Performance Arts in Gender philosophy, and thesis" specifically regarding the "Non-maleness in the Symbolic Order: Phallocentrism and the Castrated Third Sex". Her works mainly use sociology and gender philosophy as raw materials to create performance art and installation art.\r In 2022, "Non-Fountain" - Xixia Wu Solo Exhibition (Wu quan - Wu Xixia zuopin zhan 毋泉 - 吴析夏作品展) was held at the Oriental Foundation in Macao; in 2021, "Her Mountain" (Ta shan 她山) - Xixia Wu Solo Exhibition (Wu Xixia ge zhan 吴析夏个展) was held in Beijing 798 Art District Songyang Art Museum; in the same year, "Transmutation" (Shanbian 嬗变) - personal exhibition was held in Zhuhai city (Guangdong). The performance art piece "Writing the Orchid Pavilion Once Time" (Shuxie Lanting Xu yibian 书写兰亭序一遍) has attracted widespread attention across various platforms; the work "Nativity Aphasia" (Dan· shiyu 诞·失语) was selected for the Lisbon Biennale in Portugal; "The Secret of the Body" (Shenti de mimi 身体的秘密) was selected for the Gwangju International Biennale (Korea) in occasion of the eighth exhibition of the YAA Asian Young Artists Nomination and "Plastic Girl " (Su nu 塑女) was selected for the 4th Lishui International Photography Festival 2021. In 2022 Wu Xixia was selected as one of the 100 most noteworthy young artists on Douyin. His works have been exhibited at Soprafina Museum of Art in Boston (USA); Virginia Spetco Museum of Art (USA); Umass Museum of Art (USA), New Bedford Art Museum (USA); Macau Visual Art Joint Exhibition; Macao Oriental Foundation; Macau MGM; Guangzhou Poly World Trade Center Expo; Guangzhou Yi Cube Museum of Contemporary Art; Zhuhai Unbounded Art Museum and other places."""@en ; write:hasCalligraphicTraining "Academic"@en ; sch:image ; write:isCalligrapherOf , , , , , . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Silvio Ferragina" ; wdt:P27 ; wdt:P453 , , , , ; wdt:P569 "1962-12-31"^^xsd:date ; wdt:P800 , , , ; wdt:P812 ; wdt:P937 ; sch:thumbnailUrl ; write:description """Silvio Ferragina is an Italian calligrapher actively involved in the panorama of contemporary experimental Asian calligraphy. He studied Chinese calligraphy for more than ten years and he took part in lots of calligraphic exhibitions around the world, especially in China, Korea, Japan, United States, Egypt, Switzerland and Italy. In addition to an artistic production of classical inspiration, his works consist of calligraphic paintings, calligraphic sculptures, calligraphic multimedia installations, live multimedia performances, and other experimental calligraphic forms. He is involved in the so-called “contemporary calligraphic movement”, which aims at a worldwide modernization of calligraphic art. In recent years, he devoted himself to an extremely ambitious project called “musicalligraphy” project that aims at combining calligraphy and music to create something new between the two. By matching "fundamental calligraphic strokes" to "musical notes”, he arrives at the transformation of a Chinese character into a corresponding musical melody, that sometimes is transposed into a “musicalligraphy” performance.\r \r """@en ; write:hasCalligraphicTraining "Master-Taught"@en, "Present (not specified)"@en ; sch:image ; write:isCalligrapherOf , , , , . rdfs:label "fine arts" . rdfs:label "Taipei" ; wdt:P625 "Point(121.5625 25.0375)"^^geosparql:wktLiteral . rdfs:label "purple" . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Shao Yan 邵岩" ; wdt:P27 ; wdt:P453 ; wdt:P569 "1962"^^xsd:gYear ; wdt:P800 , , , , , , , , , , , , , ; wdt:P812 , ; wdt:P937 ; sch:thumbnailUrl ; write:description """Shao Yan is a Chinese calligrapher born in 1962 in Wendeng, Shandong Province (China). At the age of six, he started studying and practising traditional calligraphy under the aegis of his father with the intention of surpassing the ancient calligraphy masters. When he realised that he would not succeed through mere imitation of the great masters, he felt it was time to move away from tradition and embrace new opportunities and artistic ways to show his identity and uniqueness. He studied Fine Arts at Shandong Laiyang University in 1981 and at the Central Academy of Fine Arts in 1990. In 1991 he moved to Beijing where he currently lives. Recently, he holds many important positions including vice-President of the Calligraphy Research Institute of the Jiangsu Academy of Fine Arts and Researcher at the National Painting Academy of China. Shao Yan took part in numerous exhibitions and won several awards like the first prize in the National Exhibition of young and middle-aged calligraphers (Quanguo zhongqingnian shufa zhuankezhan 全国中青年书法篆刻展) both in 1995 and 1997.\r Shao Yan's artistic production, that lies between tradition and modernity, can be divided in three different periods: in the first period (1985 - 1995) the artist executed works 'with few characters' inspired by modern Japanese calligraphy (see "Bright Snow", Qing xue 晴雪). Influenced by Western abstract painting, he also started breaking down characters until they become unreadable, but he 'pictorially' reproduced their meaning that the observer can grasp through visual perception (see "Surrounding", Wei 圍 / 围); in the second period (1995 - 2005) the artist continued to carry out artworks “with a few characters” (see "Army", Jun 军) but also experimented with calligraphy “with several characters” (“Peach blossoms fall in a chaotic rain of red dust”, Taohua luanluo hongchengyu 桃花乱落红尘雨). In addition, he introduced the technique of ink “washed” in water (shui de "chongxi" 水的 "冲洗") (see “Sea”, Hai 海 and “Flying Good Luck”, Fei lai hao yun 飞来好运); finally, in the third period (2006 - ongoing), he has begun to use a syringe with a small ink reservoir or more syringes instead of the brush (see “The Thirty-Six Stratagems of using ink”, Mofa sanshiliuji 墨法三十六计 and “Chaos”, Hundun 混沌) and has also executed works that carry meanings related to important social issues.\r In recent years, Shao Yan has staged several calligraphy performances using the syringe to squirt ink (see the performance “Ink shooting”, Shemo 射墨) and has begun to realize calligraphy on Chinese ceramics and porcelain, using different techniques, tools and styles (see “Watching the sea and Listening to the Waves”, Guan hai ting tao 观海听涛; “Best Wishes”, Ruyi 如意 and “Ceramic ink shooting", Shemo ciping 射墨瓷瓶).\r """@en ; write:hasCalligraphicTraining "Academic"@en, "Familial"@en ; sch:image ; write:isCalligrapherOf ; write:isDesignerOf , , . rdfs:label "azure" . rdfs:label "Dunhuang Musical score" . rdfs:label "feminism" . rdfs:label "painting" . rdfs:label "ink wash painting" . rdfs:label "exhibition curator" . rdfs:label "blockbuster / large-scale piece" . rdfs:label "yin-yang" . rdfs:label "randomness" . rdfs:label "I Ching" . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P1412 ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Xu Bing 徐冰" ; wdt:P27 ; wdt:P569 "1955"^^xsd:gYear ; wdt:P800 , , , , , , , , , , , , , ; wdt:P812 ; wdt:P937 , ; write:description """Xu Bing was born in Chongqing, China in 1955 and raised in Beijing. He enrolled in the Printmaking Department of the Central Academy of Fine Arts (CAFA) in Beijing in 1977, completed his studies in 1981, and later joined the faculty. He went on to earn a master's degree from the same institution in 1987. In recognition of his accomplishments, he was invited to the United States as an honorary artist in 1990. Xu Bing's career has been marked by a variety of notable achievements. In 2007, he returned to China and assumed several leadership roles at the Central Academy of Fine Arts, including Vice President, professor, and supervisor of doctoral students. Since 2014, he has served as the head of the institution's Academic Committee. Currently, he divides his time between Beijing and New York, where he lives and works.\r Xu Bing's work has been displayed in numerous prestigious venues around the world, including the Museum of Modern Art and the Metropolitan Museum of Art in New York, the Guggenheim Museum, and the Sackler National Gallery in Washington, D.C. His work has also been exhibited at the British Museum, the Victoria and Albert Museum, and the Museo Reina Sofia, as well as the Joan Miró Foundation. Additionally, he has participated in several international exhibitions, including the Venice Biennale, Sydney Biennale, São Paulo Biennale, and Johannesburg Biennale.\r His works are included in major art history textbooks such as Art Past, Art Present (Boston: Abrahams Inc, 1997) and Gardner’s Art Through the Ages: A Global History (Wadsworth: Cengage Learning, 2013).\r Xu Bing has been the recipient of several esteemed awards throughout his illustrious career. In 1999, he was granted the MacArthur Fellowship for his exceptional originality, creativity, personal direction, and significant contributions to society, particularly in the domains of printmaking and calligraphy. In 2003, he was honored with the 14th Fukuoka Asian Cultural Award in Japan for his noteworthy contribution to the advancement of Asian culture. In his acceptance speech, Okwui Enwezor lauded Xu Bing as an artist who transcends cultural boundaries, bridging the divide between East and West and expressing his thoughts and realities in a visual language. Additionally, he won the first Artes Mundi Prize in Wales in 2004, and the lifetime achievement award from the Southern Graphics Council in 2006. In 2010, Columbia University awarded him an honorary Doctorate of Humane Letters, while in 2015, he received the Andrew D. White Professor-at-Large from Cornell University and the Medal of Arts from the U.S. Department of State.\r \r \r """@en ; write:hasCalligraphicTraining "Academic"@en ; write:hasWikidataResource ; write:isCalligrapherOf ; write:isDesignerOf , . rdfs:label "colorless" . rdfs:label "London" ; wdt:P625 "Point(-0.1275 51.507222222222)"^^geosparql:wktLiteral . rdfs:label "male and female" . rdfs:label "orange" . rdfs:label "beige" . rdfs:label "water" . rdfs:label "aerosol art" . rdfs:label "trace" . rdfs:label "chinese red" . wd:Q11472 rdfs:label "paper" . a wd:Q1400264 ; wdt:P2561 " Kwanyin Clan 观音" ; wdt:P276 , ; wdt:P527 , , ; wdt:P571 "2006-06"^^xsd:gYearMonth ; wdt:P800 , , , , , , ; wdt:P856 , , , , , ; sch:thumbnailUrl ; write:description """The crew was founded in June 2006 in the 798 Art District by EricTin (a.k.a. Tin), Yumi, Quan and Jer (or Jeer), joined in 2007 by Nat(uo), Ap (Art), Keno, Viga, Jak and Scav (a.k.a. Scar). The number of crew members has always fluctuated considerably. According to EricTin (interview 2009), in 2009 the crew consisted of nine members: Ap, Keno, Scar, Jer, Tin, Yumi, Viga, Nat and Jak, who joined the crew that year; while in 2008 there were 12 members: Daiyan (Quanr), Liu Zheng (Guantou, Eric_Tin), Song Tongshu (Yumi), Zheng Xuezhi (Apart), Jianshu (Jer), Lu Daning (Nat), Xu Yan (Scar), Lu Jiayin (Joey), Tang Mi (Keno), Xu Ou (Pluto), Xue Wenhao (Viga) and Jitou (Ctn). From 2020 the crew is composed of only 4 members: EricTin, VIGA, JJJ e SHALA. \r The Kwanyin Clan is one of the first crews created in the capital and the most representative of a strand of research within graffiti art in China called "Chinese Style Graffiti" (Zhongguo tese de tuya yishu 中国特色的涂鸦艺术), involving the use of Chinese characters and very strong references to one’s own artistic and cultural tradition. The crew’s programmatic intention is, in fact, to merge graffiti art with Chinese culture, spreading this art form in contemporary China. The crew’s main aim is the development of a notion of Chineseness in contemporary graffiti, as they have repeatedly stated and as their name dedicated to the Chinese "Goddess of Mercy" (Guanyin) alludes. The choice of the crew’s name is also perfectly in line with this intention: Kwanyin (Guanyin 观 音 ) explicitly refers to the Bodhisattva Guanyin (Guanyin Pusa 观音菩萨), one of the most important deities in the Buddhist pantheon. Bodhisattvas are compassionate sages who forsake the liberation they achieve through bodhi (enlightenment) in order to assist people and guide them to salvation, thus becoming the object of worship and veneration. Guanyin is the Chinese counterpart of the Indian bodhisattva of compassion Avalokiteśvara. The crew’s choice of naming themselves after this sage is due to the fact that, ever since Buddhism spread throughout China during the Tang dynasty (618-907), Guanyin became the most popular bodhisattva in the empire, among the many introduced to China, and continues to be so. This is because, to adapt to the new situation, he underwent major transformations that led him to change his features from male to female. The choice of the name Kwanyin thus implies the founding idea of the crew, according to which graffiti artists, who come from a foreign culture, need to first integrate and merge with Chinese culture and society, to “sinicize” themselves, if they want to be known and loved like the bodhisattva whose name they bear.\r The Buddhist echo of the name also reverberates in the first logo designed by the group, in which the image of the lotus flower, symbol of the Buddhist creed, is repeated twice: on the right, it is meticulously drawn in its traditional form; while on the left it is stylised in geometric form. In correspondence with the corollas, the name of the crew replaces the conventional Buddha figure: on the right it has been abbreviated with the traditional character Guan 觀, which stands for Guanyin, while on the left the name “Kwan-Yin” is tagged in full in Latin letters. This double signature is often found within the works of the Kwanyin Clan and effectively sums up their creative mission: to create a bridge (represented by their works) bringing China (the lotus on the right) as close as possible to the West (the lotus on the left), in order to “push forward with an overwhelming momentum” the art of graffiti in China, as stated in their motto below the logo. In 2017, the logo was changed and now consists only of the capital letters KWAN.\r The peak period of the crew’s activity was from 2006 to 2009-2010. Afterwards, many members of the crew, formerly students of art or design academies in Beijing, graduated and were forced to give up graffiti and devote themselves to more lucrative activities to support themselves and their families. From 2006 to 2009, the Kwanyin Clan mainly worked in Beijing, even if the crew also created some pieces in Langfang (Hubei), Chongqing, Tianjin, Guilin, Wuhan, and Shenzhen. Then, from 2009, each member of the crew started to work more individually: Jer, for example, has been mainly active in Wuhan, Keno Tang has focused on the embellishment of the hutong in Beijing (especially from 2011), and EricTin has concentrated his attention on design works. Nevertheless, they occasionally continue to work together, as it happened in 2016, when they took part in the most important exhibition on street art held in China in the last decade, entitled "Street Art, a Global View" held at the CAFA Art Museum. In addition to this fundamental exhibition, from 2007 to 2009 the crew took part in the most important Chinese graffiti exhibitions and competitions: "China’s First Graffiti Exhibition" (Beijing, 20007), "Re-dressed Vehicles Exposition" (Beijing, 2007), "Motor Trend Magazine Graffiti Exhibition" (Beijing, 2007), "798 Art District Graffiti Festival" (Beijing, 2007), "The Clash Show New Design Exhibition" (Beijing, 2007), "The Great Way of Graffiti Cultural Festival" (Beijing, 2008), "Beijing Happy Valley Hip-Hop Festival" (Beijing, 2008), "China International Cartoon & Game Expo" (CCG EXPO), "Shijingshan Cultural Festival Graffiti Show" (Beijing, 2008), "The 3rd China Beijing International Cultural & Creative Industry Expo", "The 2nd Graffiti Art Exhibition" (Beijing, 2008), the "Wall Lord Graffiti Battle"(Wuhan, 2009), the "Action for Seed Graffiti Jam" (Shenzhen, 2009), etc.\r The crew’s first piece and mural (a complex, large-format work, covering the entire height of the wall and consisting of several pieces of writing and some puppets) both date back to December 2006, and from these first attempts, approximately one hundred documented graffiti pieces of medium and large dimensions emerged until 2010. From 2007 to 2009, the crew participated in the most important graffiti art exhibitions and competitions in China: in 2007, for example, the crew took part in China’s First Graffiti Exhibition and the 798 Art District Graffiti Festival in Beijing, and in 2008 in The Great Way of Graffiti Cultural Festival and the Shijingshan Cultural Festival Graffiti Show. In 2009, they participated in the Action for Seed Graffiti Jam in Shenzhen and competed in the Wall Lords Graffiti Battle in Wuhan. On these occasions, they usually create large-format outdoor pieces on walls or removable panels (for the Shijingshan Cultural Festival, even on a plastic sheet) with the name of the crew and/or its members written in large letters or characters in bright colours, sometimes together with puppets or decorative elements like clouds and flowers.\r As usual for Chinese graffiti writers, the Kwanyin Clan engaged frequent collaborations with Chinese and foreign brands, especially with sports brands (Kappa, Lotto, Nike), electronic brands (Nokia, DELL, HP), and private clubs (VICS, Master Club, KTV, Gaga club, Club underground, Golf club, etc.). In these cases, their graffiti works were usually made on removable panels (once even on paper boxes, for the iMART in 2008) or indoor walls (of clubs or shops) using Latin letters and Old school Euro-Americans styles.\r As is often the case with Chinese crews, the Kwanyin Clan has regularly collaborated with the local Chinese government, to embellish the urban fabric of Beijing and create visual propaganda works to promote the image of a rich, prosperous, long-standing China. One example is the piece Olympic Beijing, created for the 2008 Olympic Games near the Beijing Institute of Technology as part of the Beijing Olympic Cultural Wall Creative Design Campaign. This campaign was sponsored by the Beijing Olympic Committee, the Beijing City 2008 Environmental Headquarters Office, and the Beijing People’s Broadcasting Station, with the aim of stimulating the creativity of artists in bringing further prestige to the international event and getting citizens to actively contribute to its success. Such mass involvement in artistic production is a distinctive feature of communist propaganda.\r Besides legal activities, the Kwanyin Clan also engages in illegal street bombing in Beijing, but, as per Chinese customs, almost exclusively in specific areas where tolerance is higher, such as the 798 Art District and Sanlitun, the city’s most international district. Their first documented experience of illegal bombing was in April 2007, in the 798 Art District. This type of activity usually consists of tagging up and/or throwing up bubble letters using one or two colours.\r Because of their relevance in the Beijing graffiti panorama, the Kwanyin Clan is also the author of numerous murals and pieces in spray painting made on the most important halls of fame in Beijing: i) in the 798 Art District, ii) in the neighborhood of the Today Art Museum, and iii) near the China-Japan Friendship Hospital and the Beijing Institute of Fashion Technology, along a street that they named "The Kwanyin Street" (Guanyin Jie 观音街) because of the high number of pieces they made there.\r Like most of the Chinese crews, the primary aim of their art is the beautification of urban space (not rebellion), and self-expression. The majority of their unauthorized graffiti are apolitical or they are created to support the establishment and not to criticise it. Their attitude towards commissioned and paid graffiti is extremely positive and, in fact, they usually engage collaborations with foreign and domestic brands to promote their commercial campaigns. In their art (as in most of Chinese local creators), the paradox of turning an artistic language (graffiti art) that is expression of subcultures into mainstream, or even a commercial product, is evident.\r Examining the crew artistic production, it is possible to distinguish a good number of oeuvres characterised by the use of both Chinese and Western elements and/or techniques, exploring the fusion of graffiti art with China traditional aesthetics. With the exception of bombing activity and most of their commercial works, the use of Chinese characters together with Latin letters is a leitmotiv in their artistic production from their first mural onwards. From the beginning of their activity, Chinese characters are usually used for writing Chinese tags (especially in the forms of Guan or Guanyin characters), and from 2008 they have experimented with the use of Chinese characters instead of Latin letters in the creation of very elaborate charactering pieces. Another characteristic of their works is the presence of other visual elements that are easily recognisable as Chinese (such as pandas, dragons, bamboo and rocks, lotus flowers, pagodas, red fishes, Daoist deities, etc.), usually painted in form of comic puppet.\r But, in addition to the use of Chinese writing and Chinese elements (common to other Chinese crews too), the peculiarity of the Kwanyin Clan is that in some particular works they also try to merge Euro-American graffiti practice with the ancient traditional arts of the Chinese literati, such as calligraphy, poetry, painting, and seal carving (cfr "Landscape Painting PIC", "Ars Divina", and "With Irresistible Force"), or with uncommon media, for example ceramics (cfr. "Peace" and "Broken Celadon"), that are traditionally Chinese and highly appreciated by the Chinese literati. This is a distinguishable feature of their art and perhaps one of the best interpretation of the notion of "Chineseness" in Chinese graffiti."""@en ; write:hasArtisticCollectiveType ; sch:image ; write:isDesignerOf , . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Luo Qi 洛齐" ; wdt:P27 ; wdt:P453 , ; wdt:P569 "1960-01-13"^^xsd:date ; wdt:P800 , , , , , , , , , , , , , , , , , , ; wdt:P812 , ; wdt:P937 , , ; sch:thumbnailUrl ; write:description """Luo Qi is an internationally renowned Chinese calligrapher and professor at the China Academy of Art in Hangzhou. Born into a family of intellectuals, he studied calligraphy since he was a child and then he graduated from the Academy of Fine Arts of China in 1986. He has always been involved in the modern calligraphic movement aiming at a radical trasformation and hydridization of calligraphic art. He is the founder and the highest representative of “Calligraphyism,” the most significant post-modern calligraphy movement that emerged in China in the early 1990s. He is also the founder and the director of two important Chinese cultural institutions: the “Calligraphyism Research Center” (Shufazhuyi yanjiu zhongxin 书法主义研究中心) and the "Luo Qi International Contemporary Art Museum" (Luo Qi guoji dangdai yishuguan 洛齐国际当代艺术馆). Currently, he lives and works between Hangzhou (China) and Lisbon and frequently travels to Italy. \r He works as the editor of several specialized journals, the curator of international exhibitions, and the author of countless texts about art and calligraphy. He is Executive Editor of the Belt and Road Cultural Journal of China’s Silk Road Art (Guangxi Publishing Group), Project Consultant of the International Conference on Portuguese Chinese Cultural Studies (University of Aveiro, Portugal), Founder of AAmA International Exhibition and AhA Asian Humanities and Arts Exhibition. Luo Qi has participated in numerous exhibitions worldwide, showcasing his works in prestigious institutions such as: Louvre, Accademia di Brera, Palazzo Ducale di Genova, United States National Gallery of Art, Tokyo Art Museum, National Art Museum of China, Brussels Modern Art Museum, Seoul Art Museum, ecc. His works are preserved within numerous museums and art galleries and have been auctioned by Sotheby's for tens of thousands of euros. Throughout his extensive career, he has received a numerous awards and recognitions both in China and abroad.""" ; write:hasCalligraphicTraining "Academic"@en, "Familial"@en ; write:hasWikidataResource ; sch:image ; write:isCalligrapherOf , , ; write:isCuratorOf . rdfs:label "liberty" . rdfs:label "anti-style" . rdfs:label "straight / block letters" . rdfs:label "New York City" ; wdt:P625 "Point(-74.00611111111111 40.71277777777778)"^^geosparql:wktLiteral . rdfs:label "Latin alphabet" . rdfs:label "rhythm" . rdfs:label "installation artwork" . rdfs:label "public free art" . rdfs:label "calligrapher" . rdfs:label "running script" . rdfs:label "3D style" . rdfs:label "professor" . rdfs:label "brown" . rdfs:label "music" . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , ; wdt:P19 ; wdt:P21 ; wdt:P2561 "Zhang Qiang 张强" ; wdt:P27 ; wdt:P361 ; wdt:P453 , , , , , , , , , ; wdt:P569 "1962-01-29"^^xsd:date ; wdt:P800 , , , , , , , , , , ; wdt:P812 ; wdt:P856 ; wdt:P937 ; sch:thumbnailUrl ; write:description """Zhang Qiang is an artistic revolutionary with strongly conservative credentials. He has a deep understanding of traditional Chinese painting and calligraphy, and a thorough knowledge of the aesthetic theories that underpin them. He is also a leading theorist of the Avant-Garde movement in calligraphy and the founder of "traceology", an entirely new genre that is centred on enlisting the aid of a female partner in creating each work.\r He was born in 1962 and brought up in Shandong. His father was the head of a huge agricultural commune comprising some 30,000 people and his mother was in charge of its 'women's affairs'. He went to the Taian Teacher's Training College, near Mount Tai, and three years later, while teaching at the middle school in his home town of Feicheng, he began to take a serious interest in Chinese art. The Shandong Arts Institute in Jinan appointed him to its staff as a lecturer and in 1993 he was made director of the newly created Office of Fine Arts Studies. He believed that including meaningful text in calligraphy would provide great scope for developing it as a modern art form. In 1993 he started experimenting with the help of female partners. He started with a student of Chinese painting who wrote Avant-Garde poetry characterized by disjunctions of time and place. As she read her poems aloud, Zhang Qian would try to write down the words in an abstract way. One night he got the woman to move his paper while he was writing down on it the words she was reciting. Then a flash of inspiration made him turn his head away so that he could not see his partner while he was writing, although she could still see his hand moving the brush. This time the results amazed him. All of the sudden, he had succeeding in freeing himself from all the restrictions imposed by the conventional composition of characters. In 1995 he started working with other creative young women. The sentences he wrote out were usually fairly mundane thoughts that happened to be running through his mind, rather than the words of the great Chinese poets or any of the poems he himself writes in classical style. Zhang Qian has described and analysed the whole traceology project in a book entitled "Trace Aesthetics: Cultural Cross-overs through Art" (2002). In it he says that during the project he felt as if he was using his brush to construct a building while his partner was exerting an elemental force, like an earthquake, to destroy the whole structure. For him, the shattered traces recall the moods of the women with whom he worked. Others, however, feel that they are like a Chinese version of the Rorschach ink-blot tests, with viewers projecting their own preoccupations on to what they see before them. In 1998 he set about creating a different form of traceology. Having already turned his calligraphy from a scholarly artistic pursuit into an exploration of the use of space in two dimensions, he wanted to experiment with more independent visual forms in three dimensions. He focused on the two most basic three-dimensional forms: the cube and the sphere. He believes that this forms lie at the heart of Western art and so can act as a bridge linking East and West. His installation works consist of long strips of paper on to which his female partner places plastic balls and cubes after he has painted them. Artist and assistant work on one section of the paper before unfolding the next. The woman decides whether she will lay the objects on the paper one by one as each becomes ready, or wait and position them all at once. Women are even more central to Zhang Qiang's art when their own bodies become the medium on which he paints. He was worked in this way with young Chinese women wearing black one-piece swimsuits, in order to create harmony between their black costumes, their black hair and the ink he is applying to their exposed flesh. He has also done a series of works featuring women in white.\r Zhang Qiang has adopted a brave artistic approach to stimulating debate about perceptions of calligraphy and their cultural implications for Chinese society. One of his great strengths in doing so is that no one can accuse him of simply waving his brush about like a child. He is a scholar and a professor, widely respected for his knowledge of the history and theory of both Chinese and Western Art."""@en ; write:hasCalligraphicTraining "Self-Taught"@en ; sch:image ; write:isCalligrapherOf , , , , , , , , , ; write:isDesignerOf , , . rdfs:label "Hong Kong" ; wdt:P625 "Point(114.15861111111 22.278333333333)"^^geosparql:wktLiteral . rdfs:label "Shanghai" ; wdt:P625 "Point(121.46916666666667 31.2325)"^^geosparql:wktLiteral . rdfs:label "tag" . rdfs:label "acrylic paint" . rdfs:label "Performance art" . rdfs:label "abstract art" . rdfs:label "cursive script" . rdfs:label "female" . a wd:Q215627 ; wdt:P103 ; wdt:P106 , , , , ; wdt:P1343 "Wang Dongling is the seventh artist featured in \"The Enduring Passion for Ink: Films on Contemporary Ink Painters\", a documentary film independently produced by scholar-curator Britta Erickson in 2013. This documentary presents 10 contemporary Chinese ink artists and opens the door to what contemporary Chinese ink painting represents in the contemporary Chinese art world today."@en ; wdt:P19 , ; wdt:P21 ; wdt:P2561 "Wang Dongling 王冬龄" ; wdt:P27 ; wdt:P453 , , , , ; wdt:P569 "1945"^^xsd:gYear ; wdt:P742 "Da san cao tang 大散草堂", """Dongling 冬令\r """, "Mian ou lou 眠鸥楼", "Wuzhai 悟斋" ; wdt:P800 , , , , , , , , , , , , , , , , ; wdt:P812 , ; wdt:P856 ; wdt:P937 ; sch:thumbnailUrl ; write:description """Wang Dongling, born in 1945, is a distinguished figure in contemporary Chinese calligraphy. He is Full Professor of Calligraphy at the China Academy of Art in Hangzhou and serves as the President of its Modern Calligraphy Research Center. Additionally, he is the Chairman of the Hangzhou Calligraphers Association (Hangzhou shi shufajia xiehui 杭州市书法家协会) and the President of the Lanting Calligraphy Society (Lanting shufa shehui 兰亭书法社会). \r Wang Dongling's early education was in painting at the Teachers' College in Nanjing, the capital of his home province, Jiangsu. However, the Cultural Revolution led to the closure of the institution in 1966. During this period, he worked at the cultural and educational office, promoting mass education through art. \r During the Cultural Revolution, Wang Dongling realized big-character posters. He considers this period crucial in his artistic development, as it provided a sense of artistic freedom and exposure to new ideas. After the Cultural Revolution, Wang studied under renowned calligraphers Lin Sanzhi, Lu Weizhao, and Sha Menghai, learning how to balance classical techniques with innovative expressions.\r In 1981, Wang graduated from the first calligraphy graduate class at the China Academy of Art (formerly Zhejiang Academy of Fine Arts) with a Master of Arts degree and began teaching there. From 1989 to 1992, he taught Chinese calligraphy at the University of Minnesota and served as a visiting professor at both the University of Minnesota and the University of California, Santa Cruz. During his time in the United States, Wang's style became more experimental and international, influenced by Western emphasis on composition, line, and color. He also began experimenting with mixed-media works and collages, integrating Western imagery with Chinese characters. He returned to the China Academy of Art in 1994.\r Wang Dongling argues that calligraphy should evolve through a critical synthesis of tradition and contemporaneity, in an international context, while preserving its cultural essence. His project aims to redefine a calligraphic practice that blend traditional skills with modernist and avant-garde approaches, approaching a more performative and abstract art form. Major exhibitions in Hangzhou and Beijing in the late 1980s showcased his evolving style, including large-scale works such as "Confucianism, Daoism, and Buddhism" and "View from Heaven".\r In the late 1990s, Wang developed his distinctive "Chaos Script" (Luanshu 乱书). This style is characterized by powerful, dynamic brushwork that creates a sense of depth and movement. It has brought him international recognition and positioned him as a leading figure in modern and experimental calligraphy."""@en ; write:hasCalligraphicTraining "Academic"@en ; write:hasWikidataResource ; sch:image ; write:isCalligrapherOf , , , , ; write:isCuratorOf , , ; write:isDesignerOf , . a wd:Q464980 ; write:description """Dedicated to the evolution of contemporary Chinese calligraphy, this exhibition explored new directions and expressions within the art form. Organized in collaboration with the Civic Museums Department of Bologna, the exhibition represented the final outcome of the research project “WRITE – New Forms of Calligraphy in China: A Contemporary Culture Mirror”, coordinated by the University of Bologna and funded by the European Research Council (ERC). The exhibition explores the transformation of calligraphy into new artistic languages capable of reflecting the cultural and social changes of contemporary China. More than an aesthetic practice, calligraphy (shufa) has always been one of the deepest forms of artistic and intellectual expression in Chinese culture. Every mark becomes a visible manifestation of vital energy (qi), transforming gesture, rhythm, and emotion into form. Today, this millennia-old tradition is being reinterpreted through new languages, materials, and media. Divided into four thematic sections—visual arts, graffiti, decorative and applied arts, and performance arts—the exhibition presented works ranging from abstraction to the pictographic, from invented and illegible calligraphies to experiments created with unconventional materials and tools. With more than 40 artists and over 55 works, it was the first exhibition of its kind in Europe."""@en ; write:exhibitedArtwork , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ; wdt:P10661 , , , , , , , , , , , , , , , , , , , , , , , , , ; wdt:P1343 "Iezzi, Adriana; Bisceglia, Marta Rosa; Merenda, Martina; Caccin, Daniele (2026) “‘Oltre l’inchiostro’: la calligrafia cinese supera i confini del segno”, in: A. Iezzi, con M. R. Bisceglia, D. Caccin and M. Merenda (edited by), Oltre l’inchiostro. Nuovi orizzonti della calligrafia cinese contemporanea, Bologna: Bologna University Press, pp. 9 - 23. " ; wdt:P1476 "Beyond Ink: New Horizons of Contemporary Chinese Calligraphy"@en, "Oltre l’inchiostro: Nuovi orizzonti della calligrafia cinese contemporanea"@it, "Chāoyuè mòjì: Dāngdài Zhōngguó shūfǎ de xīn shìyě"@pny, "超越墨迹：当代中国书法的新视野"@zh ; wdt:P1640 ; wdt:P276 ; wdt:P580 "2026-05-07"^^xsd:date ; wdt:P582 "2026-07-05"^^xsd:date ; wdt:P664 , ; wdt:P856 ; wdt:P973 . rdfs:label "Settore Musei Civici Bologna" . rdfs:label "Beyond Ink - Civic Museums of Ancient Art" . rdfs:label "Beyond Ink - WRITE project's website" . rdfs:label "nature" . wd:Q127418 rdfs:label "ink" . rdfs:label "circa" . rdfs:label "artist" . wd:Q614467 rdfs:label "brush" . rdfs:label "green" . rdfs:label "blue" . rdfs:label "simplified character" . rdfs:label "yellow" . rdfs:label "regular script" . rdfs:label "wall" . rdfs:label "Hangzhou" ; wdt:P625 "Point(120.1675 30.25)"^^geosparql:wktLiteral . rdfs:label "male" . rdfs:label "aerosol paint" . rdfs:label "aerosol spray" . rdfs:label "English" . rdfs:label "grey" . rdfs:label "People's Republic of China" ; wdt:P625 "Point(103.45194444444445 35.844722222222224)"^^geosparql:wktLiteral . rdfs:label "calligraphic work" . rdfs:label "red" . rdfs:label "non simplified character" . rdfs:label "Beijing" ; wdt:P625 "Point(116.407526 39.90403)"^^geosparql:wktLiteral . rdfs:label "paper" . rdfs:label "Chinese characters" . rdfs:label "Chinese" . rdfs:label "ink" . rdfs:label "brush" . rdfs:label "white" . rdfs:label "black" . ### RDF-star accuracy annotations << ns2:P571 "0350"^^xsd:gYear >> ns1:accuracy "circa" . << ns2:P571 "1740"^^xsd:gYear >> ns1:accuracy "circa" . << ns2:P571 "0744"^^xsd:gYear >> ns1:accuracy "circa" . << ns2:P571 "0744"^^xsd:gYear >> ns1:accuracy "circa" . << ns1:numberOfCharacters "220"^^xsd:integer >> ns1:accuracy "circa" . << ns1:numberOfCharacters "149"^^xsd:integer >> ns1:accuracy "circa" . << ns1:numberOfCharacters "22"^^xsd:integer >> ns1:accuracy "circa" . << ns2:P571 "0349"^^xsd:gYear >> ns1:accuracy "circa" . << ns2:P571 "1076"^^xsd:gYear >> ns1:accuracy "circa" . << ns1:numberOfCharacters "50"^^xsd:integer >> ns1:accuracy "circa" . << ns1:numberOfCharacters "800"^^xsd:integer >> ns1:accuracy "circa" . << ns2:P571 "1075"^^xsd:gYear >> ns1:accuracy "circa" . << ns1:numberOfCharacters "70"^^xsd:integer >> ns1:accuracy "circa" . << ns1:numberOfCharacters "160"^^xsd:integer >> ns1:accuracy "circa" . << ns1:numberOfCharacters "50"^^xsd:integer >> ns1:accuracy "circa" . << ns1:numberOfCharacters "1000"^^xsd:integer >> ns1:accuracy "circa" . << ns1:numberOfCharacters "914"^^xsd:integer >> ns1:accuracy "circa" . << ns1:numberOfCharacters "150"^^xsd:integer >> ns1:accuracy "circa" . << ns2:P571 "0850"^^xsd:gYear >> ns1:accuracy "circa" . << ns1:numberOfCharacters "187"^^xsd:integer >> ns1:accuracy "circa" . << ns1:numberOfCharacters "200"^^xsd:integer >> ns1:accuracy "circa" . << ns1:numberOfCharacters "500"^^xsd:integer >> ns1:accuracy "circa" . << ns2:P571 "0550"^^xsd:gYear >> ns1:accuracy "circa" . << ns1:numberOfCharacters "57"^^xsd:integer >> ns1:accuracy "circa" . << ns2:P571 "0500"^^xsd:gYear >> ns1:accuracy "circa" . << ns2:P571 "1140"^^xsd:gYear >> ns1:accuracy "circa" . << ns1:numberOfCharacters "40"^^xsd:integer >> ns1:accuracy "circa" . << ns1:numberOfCharacters "9"^^xsd:integer >> ns1:accuracy "circa" . << ns2:P571 "0263"^^xsd:gYear >> ns1:accuracy "circa" . << ns2:P571 "0100"^^xsd:gYear >> ns1:accuracy "circa" . << ns2:P571 "0250"^^xsd:gYear >> ns1:accuracy "circa" . << ns1:numberOfCharacters "400"^^xsd:integer >> ns1:accuracy "circa" . << ns2:P571 "0600"^^xsd:gYear >> ns1:accuracy "circa" . << ns1:numberOfCharacters "25"^^xsd:integer >> ns1:accuracy "circa" . << ns2:P571 "0700"^^xsd:gYear >> ns1:accuracy "circa" . << ns1:numberOfCharacters "13"^^xsd:integer >> ns1:accuracy "circa" . << ns1:numberOfCharacters "69384"^^xsd:integer >> ns1:accuracy "circa" . << ns1:numberOfCharacters "180"^^xsd:integer >> ns1:accuracy "circa" . << ns2:P571 "0300"^^xsd:gYear >> ns1:accuracy "circa" . << ns1:numberOfCharacters "50"^^xsd:integer >> ns1:accuracy "circa" . << ns2:P571 "0742"^^xsd:gYear >> ns1:accuracy "circa" . << ns2:P571 "0735"^^xsd:gYear >> ns1:accuracy "circa" . << ns2:P571 "0206"^^xsd:gYear >> ns1:accuracy "circa" . << ns2:P571 "0700"^^xsd:gYear >> ns1:accuracy "circa" . << ns2:P571 "1071"^^xsd:gYear >> ns1:accuracy "circa" . << ns2:P571 "-0290"^^xsd:gYear >> ns1:accuracy "circa" . << ns1:numberOfCharacters "1553"^^xsd:integer >> ns1:accuracy "circa" . << ns1:numberOfCharacters "10000"^^xsd:integer >> ns1:accuracy "circa" . << ns1:numberOfCharacters "150"^^xsd:integer >> ns1:accuracy "circa" . << ns2:P571 "-0800"^^xsd:gYear >> ns1:accuracy "circa" . << ns2:P571 "-0300"^^xsd:gYear >> ns1:accuracy "circa" . # VIAF and ULAN identifiers "36815744" . "500395723" . "63400503" . "500288069" . "77237669" . "51979248" . "106622087" . "500329814" . "81093776" . "305184346" . "500685896" . "500125592" . "407145541835396601099" . "33141819" . "85144191" . "500125593" . "23245932" . "500386584" . "145147266669535481095" . "88092173" . "216393455" . "57254101" . "258619276" . "500517435" . "500272394" . "114146029646535822608" . "77906674" . "26922576" . "54145066493366591249" . "79828387" . "40155767296527760360" . "61701184" . "500125596" . "115122849" . "76162578" . "117791505" . "78964040" . "42157340539509920174" . "500781523" . "56407623" . "500458298" . "204718824" . "18393521" . "500337165" . "13478511" . "500258803" . "96607605" . "500125599" . "102744637" . "500392737" . "39161149707934941733" . "303921491" . "57712377" . "500781454" . "261851236" . "47168045394438102574" . "4262153472523245360001" . "151148995999059752026" . "500607755" . "68886426" . "111694866" . "72290458" . "500617184" . "10050657" . "500685277" . "90545764" . "74063117" . "55039251" . "500329290" . "137147905237279091875" . "31782372" .