How 3 artists redefined the traditional Chinese art of ink at Art Basel Hong Kong
Xu Jiong, Chao Chung-hsiang and Tang Chang brought calligraphy and ink landscapes with Western sensibilities to the fair
Ink has been at the heart of traditional Chinese art for centuries. Cultural ideals, aesthetic perception and the literati artistic tradition are deeply rooted in the use of ink – whether in calligraphy, landscape painting or, in many cases, a combination of both.
Today, the art form continues to be a medium for artists to explore the shape-shifting nature of language and aesthetics, with contemporary artists rethinking and redefining how brushstrokes – sometimes bold, at other times delicate – are interpreted.
Each Modern gallery brings Xu Jiong’s works to the Insights sector this year, including the Spring Monster series. Born in Hangzhou in 1983, Xu trained as a calligrapher, which lent him a strong foundation in traditional Chinese calligraphy and painting from a young age. He injected elements of Western contemporary art into his works, exploring and expanding the literati art genre through a Western lens.
Through his vivid, dynamic brushwork, Xu blends the spirit of Chinese artistic traditions with Western visual language, reimagining landscape and calligraphy within a contemporary framework. Each Modern’s catalogue says: “His work constitutes a declaration that the future of Eastern aesthetics lies in unleashing its intrinsic energy and actively shaping new forms within the contemporary context.”
Over the past decade, Xu’s artistic evolution has unfolded through several phases – Cursive (2012–2016), Jia Dao (2016–2018), Spring Monster (2017–2018), Collage (2019–2024), and the ongoing New Cursive series begun in 2020.
The artist’s quadriptych Spring Monster · Youthless explores self-discovery and personal growth through the physical act of calligraphy. Rhythm, breath, the motion of the wrists, and ultimately, the release of energy from brushstrokes on paper are expressed as a lived experience of calligraphy rather than merely as a means to convey a narrative. His bold, almost spontaneous strokes express the gentle landscape of Jiangnan and the vastness of northern China, and the layering of flowers captures the passing of seasons and Xu’s nostalgic longing for bygone youth, transforming calligraphy into an act of meditation on time, possibility and resilience.