Traditional Chinese Calligraphy and Painting in order to show expressiveness and vividness must employ a special technique of “dots” and “lines”. The technique uses four dimensions: one dimensional dots and lines, two dimensional surface, three dimensional body and the fourth dimensional integral world of divinity and heaven – spiritual world of the character. Chinese Calligraphers and painters are striving for the work of God.
Mr. Chu Qi visited the Shaolin Temple Kunming and Venerable Abbot Grandmaster Shi Yanbei to establish a cooperation in the field of Calligraphy and Painting. Born in Hunan Province, Mr. Chu grow up in a family of fine artists and cultural traditions. He serves in the Department of Culture of Yunnan Province. Due to his hard work and determination, Mr. Chu had great achievements in the field of character sketch. The sketches are simple but rich in Taoism philosophy – the greatest truths are the simplest. His technique uses blank spaces, brushstrokes, the dialectical unity between the form and the spirit, between the virtual and the real.
Chinese paintings have as foundation the traditional Calligraphy, therefore a good painter must have solid skills of calligraphy as well. For the portraits of female characters, he uses the Li-style (a style of Chinese Calligraphy from the Han Dynasty) calligraphic writing techniques to deliver a sense of gentleness and tenderness.
The temperament and emotions of the female portrait seem charming but not coquettish, gentle but not soft. He draws to show the beauty of the spirit. On the other hand, the male portraits are depicted to focus on the ugliness, masculine ruggedness to be in contrast with female portraits.
Mr. Chu is a modest person with sincere respect for culture and genuine artists. He is very generous and he often offer gift the portraits he does. The collection of portraits he designed have been published in a book.
We are grateful to have meet Mr. Chu and learn from him the amazing are of Calligraphy and Chinese painting.