Sun, Mar 30, 2003 page19

• Writing a new meaning into words

  Tong Yang-tze bridges the gulf between calligraphy and contemporary art with her Chinese characters that seem to dance on the page

  • By Vico Lee / STAFF REPORTER
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  Chinese calligraphy is also known as "tzi hua" (字畫), which literally means "word painting," a phrase expressive of the idea that calligraphy has the potential to span the worlds of words and pictures. The work of Tong Yang-tze (董陽孜) gives the impression that she can paint anything with words.

  The conventions of calligraphic styles and the traditional didactic emphasis do not apply to Tong's works, where the Chinese characters seem to dance -- almost as if they were performers on a stage. In 1975, choreographer Lin Huai-min (林懷民) invited Tong to produce a work using the name of the Cloud Gate Dance Theater, which has since become Taiwan's best-known dance company. This work has since become part of Cloud Gates logo.

  

  Tong's style has characters that are more pictures than work.

  PHOTO COURTESY OF CKS CULTURAL CENTER

  Tong has also written the titles for many of the group's works, which have appeared in Cloud Gate's promotional material. More recently, Tong wrote the name for City Stages (城市舞台) in Taipei.

  

  Nian Nu Jiao, a work of calligraphy on display at the National Concert Hall.

  PHOTO COURTESY OF CKS CULTURAL CENTER

  Apart from these projects, the calligrapher has held some 50 exhibitions since 1959.

  In Tze You Tze Tzai: A dialogue Between Calligraphy and Space (字在自在─董陽孜書法與空間的對話), the dramatic quality of Tong's work is particularly appropriate to the venue -- the National Theater (國家戲劇院) and National Concert Hall (國家音樂廳). This is the first time the two halls have hosted an exhibition of visual arts.

  Tong created the 10 exhibits specifically for these performance venues. Their sculptural quality, both solemn and lithe, make for an interesting interaction with the grand interiors.

  The words Tong wrote range from simple phrases like Hsiao Ke(嘯歌) to traditional couplets. Many of the phrases are drawn from the Chou dynasty classic The Book of Poetry, which records religious and folk lyrics. Although the classics are favorite materials for all calligraphers, Tong usually selects just a phrase or a sentence instead of writing entire passages.

  Tong's selection of short phrases give her much greater freedom of composition, often influenced by Western painting and an emphasis on innovative expression.

  Architect Ray Chen (陳瑞憲), who designed the Eslite book store in Taichung and the Shi-Chian University Education Building, also plays an important role in creating the exhibition, having designed panels for Tong to write and arranged the finished work in the venues.

  There is a Zen-like quality to some of Tong's interpretations of various classical phrases. This is particularly evident in the work The Largest Object Has Nothing Beyond It (至大無外) and the humorous composition in The Peng Soars Ten Thousand Miles, The Phoenix Shrieks a Thousand Leagues (鵬搏萬里鳳鳴千仞). The way these well-worn phases have been written makes you re-assess their meaning -- but isn't that just what calligraphy is all about?

  A dialogue Between Calligraphy and Space is on show at the National Theater and National Concert Hall through April 6.
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