Where are Xi Jinping’s works of calligraphy? Collector laments a disappearing Chinese art form
- Chi Wang’s Nationalist general father instilled in him a deep appreciation for the art form
- The US-based scholar explains how the true value of Chinese art is much more than the auction price
I grew up in a very different China than the one that exists today. The China of my youth faced years of Japanese invasion and occupation followed by civil war. It wasn’t until after I moved to the United States that the People’s Republic was established and a new nation began to take shape.
Over the decades, China has gone through many changes. Some, like the economic reforms and opening up, benefited the people. At the same time, however, much of traditional culture has been diluted or lost.
My father was one of the last to take the imperial system exams before they were abolished, in 1905. Passing them required a deep understanding of the Confucian classics. High regard was also placed on understanding literature, poetry, philosophy and the arts. The Four Treasures – brush, ink, paper and ink stone – denoted the important role mastering calligraphy played in Chinese culture.
Even after the examination system and the Qing dynasty itself had passed into the history books, scholar officials remained prevalent. Renowned post-imperial leaders – among them Sun Yat-sen, Chiang Kai-shek and even Mao Zedong – were prolific in the traditional arts and became well known for their calligraphy. The same cannot be said today. Where are Xi Jinping’s works of calligraphy?
My father, Wang Shu-chang, was a Nationalist general, commander of the Beijing-Tianjin garrison (1930-35) and governor of Hebei province, but he still made the time to practise calligraphy and appreciate Chinese art.
Artist friends, including Pu Ru (1896-1963) and Zhang Daqian (1899-1983), stopped by our house, and I tried to eavesdrop on their conversations. My father became a calligrapher and collector. He also encouraged me to dedicate myself to practising calligraphy. When I moved to the US, I brought this passion and dedication with me. I practise calligraphy to this day.
Living in the US, I slowly started to grow my own collection of Chinese paintings, the first among them pieces that had belonged to my father and father-in-law, Hsieh Cheng-ping, who was a member of the legislative yuan in Nanking, in 1948, and moved with the Nationalists to Taiwan later that year. Chinese art has served as a window to my country of birth, and to happy memories of childhood.
In a time when smartphones and computers have left many Chinese youths unable to fully master characters, the precise, elegant art of calligraphy seems more precious than ever
When my wife and I married (in Washington DC, in 1958), we received a couplet from Pu Ru as a wedding gift. Pu Ru had moved to Taiwan and befriended my father-in-law, who was then a member of the Taiwanese legislative yuan. Receiving a new piece of my own sparked my interest in expanding my collection.
The programmes I began then and continued to develop after returning to the US were helpful in strengthening exchanges between the US and China before official diplomatic relations were established.
It was with the help and guidance of that dealer’s experts that I began to learn the value of paintings and the process of acquiring and collecting art.
After the Cultural Revolution ended and China’s wealth grew, there was a renewed interest in the buying and selling of Chinese artwork and calligraphy. Forgotten artists came back into high demand, auction prices rose and the “business” of Chinese art exploded.
In the 80s and 90s, Chinese art began receiving attention internationally and respected New York houses started dedicating auctions to it. However, more interest led to more forgeries, which in turn makes it more difficult for less experienced collectors to buy and sell pieces.
I learned about fakes the hard way. An acquaintance recommended a small, new auction house in New York City. At first, the paintings I purchased were authentic. Once they had earned my trust, however, they started selling me fakes. By the time I realised, I had lost quite a bit of money.
If you are looking to turn a quick profit, Chinese art is probably not the best investment. Understanding the artists, the value of their pieces, and how to spot a fake takes time, dedication and help from experts. I have been lucky to have had many knowledgeable teachers over the years, many of them at auction houses.
Some specialists are happy to work with small individual collectors like me and answer questions about buying and selling pieces. Others, however, are nearly impossible to approach without having a big name or large bank account.
My passion for Chinese art was sparked by the work itself, however, not by potential monetary gains. Artwork – I prefer to collect calligraphy and paintings, both classical and modern – touches the soul. Chinese art is especially poignant; it speaks specifically to a rich culture and history.
It frequently combines painting, calligraphy and poetry. Now, in my later years, I am happy with my collection, but wish I could share my passion with more people. I have had the opportunity to hold a few small exhibitions in the Washington area, but hope to do more.
In a time when smartphones and computers have left many Chinese youths unable to fully master characters, the precise, elegant art of calligraphy seems more precious than ever
Twice a year, in the spring and autumn, major auction houses such as Christie’s, Sotheby’s and Bonhams host Asia week in New York and Hong Kong. With auctions, open viewings, cultural events and talks, it is a great forum in which to gain an introduction to Chinese art. Keep your eye out for some of the most popular contemporary artists of today, which include Qi Baishi (1864-1957) and Xu Beihong (1895-1953).
Famous calligraphers include Wang Wenzhi (1730-1802), Hu Shi (1891-1962) and Qi Gong (1912-2005), although many Chinese artists were accomplished in both painting and calligraphy, for example Dong Qichang (1555-1636), Wen Zhengming (1470-1559) and Shen Zhou (1427-1509), as well as Pu Ru and Yu Feian (1888-1959).
In a time when smartphones and computers have left many Chinese youths unable to fully master characters, the precise, elegant art of calligraphy seems more precious than ever. I hope that more Chinese will be exposed to traditional painting and calligraphy and that they will be inspired to learn and preserve this art form. It would be disheartening to believe the Chinese artists I have come to enjoy over the years will end up being the last of their kind.
Professor Chi Wang is the president and co-chair of the US-China Policy Foundation, an organisation he co-founded.
