Title

The Cross-Cultural Entanglement between Modern Calligraphy and Zen

Author

Lin Chun-chen

Genre

Article  

Pages

41-75

Download

PDF

Language

Chinese

Key words

calligraphy, modern art, Zen 禪學, modern calligraphy

Abstract

    After World War II, modern Japanese calligraphy developed rapidly, a phenomenon that was mainly triggered by the impact of Western modernity. Moreover, D. T. Suzuki’s 鈴木大拙 (1870-1966) lectures and the spread of Zen 禪 學 in the Western world affected the development of Western abstract expressionism and modern music in the 1950s. Suzuki’s interpretation of Zen, emphasizing a direct engagement with the present and a transcendence of historical constraints, provided ideological nourishment for avant-garde art. In addition, the brushstrokes of traditional calligraphy came to be regarded as a realistic expression of Zen thought. Therefore, the development of modern Japanese calligraphy was stimulated by Western abstract expressionism from without and the attempt to innovate traditional calligraphy from within. Consequently, many of the most accomplished modern calligraphy practitioners such as Morita Shiryū 森田子龍 (1912-1998), Inoue Yuichi 井上有一 (1916-1985) and others appeared at this time, and they are still difficult to surpass. This article explores the discourse surrounding Zen and calligraphy in the history of calligraphy and the positive echoes between these works. It clarifies the differences between Zen as modern calligraphy and the aesthetic orientation of Western avant- garde art, and further reflects upon the cross-cultural influence and limitations of Zen on the artistic practice of both.