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Calligraphy

Juror's Statement

HSIAO Shih-Chiung

This year’s Calligraphy Category received a total of 104 submissions. On April 25, the preliminary selection shortlisted 15 works. On July 1, the
final selection awarded prizes to these 15 works, including one Award of Merit winner from Mainland China. After the judging was completed, some
jurors mentioned the issue of “innovation through tradition” in calligraphy. I believe that “innovation through tradition” is not only a creative stance but
also a necessary path for calligraphy art to renew itself and respond to contemporary times.
The “new” in calligraphy is not creation without foundation; rather, it draws nourishment from the essence of tradition and reinterprets it to open
new horizons. Modern masters such as YU You-Jen, LIN San-Zhi, WANG Jiu-Chang, and TAI Ching-Nung all deeply studied ancient methods while
innovating with their own unique approaches, proving that innovation in calligraphy must be based on a solid traditional foundation. Innovators
should not regard tradition as a constraint but as a source; only those well-versed in classical methods can innovate without chaos, break
conventions without abandoning structure.
From a visual language perspective, contemporary calligraphy should boldly expand the spatial and formal possibilities of writing. In structure,
one might attempt to break the constraints of central symmetry and traditional line arrangements, allowing characters to have greater dynamism
and rhythm on the page. In brushwork, contemporary painting techniques can be introduced through control of speed and strength, lending greater
tension and vitality to ink and brush. This is not blind imitation of Western artistic language but rather discovering possibilities for abstract expression
within the Eastern brush and ink tradition.
Contemporary calligraphy must recognize that it is no longer merely the technique of “writing characters” but a fusion of “textual imagery”
and “cultural concepts.” We might ask: “Beyond readability, can calligraphy be more symbolic?” For example, by abstracting cursive brushwork
or recomposing seal and clerical script components to resemble totems, or by incorporating mixed media to expand calligraphy’s boundaries.
Innovations in form and concept bring calligraphy closer to today’s artistic discourse and enable cross-disciplinary dialogue.
Moreover, the vitality of contemporary calligraphy comes from its response and reflection on real-life contexts. If calligraphy remains stuck
between copying models and exhibition, it loses its potential as a “contemporary cultural carrier.” Calligraphers should rethink writing as the essence
of “life’s trajectory” and “voice of thought,” focusing not just on form but on spirit.
Finally, innovation in calligraphy must be appropriate to one’s nature. Innovation is not only a renewal of style but also a condensation of
personality and temperament. Therefore, the path to innovation is truly to return to the root and open up newness — to find a way within tradition
and realize the self in the modern world. Between classical meaning and new ideas, calligraphy is not ruptured but flowing; not nostalgia but
continuation. Innovation is not abandoning tradition but enabling it to shine in the present.
The above may serve as reference for young calligraphers striving for innovation. Following tradition, here are comments on this year’s award-
winning works:
First Prize went to “A Poem from the Qing Dynasty” by SHIH Chun-You. According to the artist, he “reflects on issues of contemporaneity and
attempts to deconstruct his own writing routines, exploring balance and conflict in brushwork.” Indeed, this work shows a personal concept fitting
well with the idea of “innovation through tradition.” It breaks from traditional Wei stele brush techniques, neither deliberately refined nor overly stable,
but lively with a balance of lean and upright strokes, quite eye-catching.
Second Prize went to CHANG Pei-Yuan’s “Poem by MI Fu.” This piece masterfully employs the principle of subtle change, excellently expressing
the transitional script style between clerical and regular script. The originality is strong, but this style has remained unchanged for many years and
needs further evolution; otherwise, it risks becoming unremarkable.
Third Prize-winning “A Poem by YANG Er-Cai” by CHI Kuan-Ti models after CHU Chih-Shan’s cursive script, while also referencing WANG Duo’s
vigorous line work. Dots and lines interweave closely, reducing line spacing to create a dense visual effect — an effortful design. However, the result
may lean too much toward rationality and lack emotional depth, requiring caution.
Other Award of Merit winners and shortlisted works are also noteworthy. Some calligraphers show remarkable progress and are very close to
winning prizes — continued effort may secure a place next year!