Period:Unknown Production date:1995
Materials:paper
Technique:
Subjects:calligraphy
Dimensions:Height: 73.30 centimetres (Height including backing paper) Height: 56.70 centimetres (Height of original paper) Width: 67.30 centimetres (Height of original paper) Width: 63.50 centimetres (Width including backing paper)
Description:
Calligraphy, made of ink on paper. The artist has used the “flying white” technique to create both elegant curves and lines; the white representing the dreamlike or transient.
IMG
![图片[1]-calligraphy; painting BM-1998-0210-0.4-China Archive](https://chinaarchive.net/Unknown/Paintings/mid_00800853_001.jpg)
Comments:Barrass 2002:From the mid-1980s he experimented for nearly a decade with the sinuous forms referred to as ‘worm’ or ‘bird’ scripts; terms that relate to the traditional belief that calligraphy originated from man’s observation of the trails left by birds, worms and other creatures. Decorative scripts of this kind can be found on bronzes dating from the Zhou dynasty (1050-221 BCE) and on tiles of the Han dynasty (206 BCE- AD 220). The works Zhang Dawo has done in these scripts are characterized by lines painted in what is called “flying white”, a technique whereby a distinctive effect is produced when the brush is moved fairly rapidly accross the paper and its drying hairs begin to separate. As they do so, they leave white lines within each brushstroke. This technique was first used by the famous Cai Yong (133-192). By using this technique, Zhang Dawo seeks to re-create the pleasure, insecurity and excitement encountered in dreams. Most of his pieces in “flying white” have been done as soon as he wakes up in the morning, when he is still in a dreamy state of mind.
Materials:paper
Technique:
Subjects:calligraphy
Dimensions:Height: 73.30 centimetres (Height including backing paper) Height: 56.70 centimetres (Height of original paper) Width: 67.30 centimetres (Height of original paper) Width: 63.50 centimetres (Width including backing paper)
Description:
Calligraphy, made of ink on paper. The artist has used the “flying white” technique to create both elegant curves and lines; the white representing the dreamlike or transient.
IMG
Comments:Barrass 2002:From the mid-1980s he experimented for nearly a decade with the sinuous forms referred to as ‘worm’ or ‘bird’ scripts; terms that relate to the traditional belief that calligraphy originated from man’s observation of the trails left by birds, worms and other creatures. Decorative scripts of this kind can be found on bronzes dating from the Zhou dynasty (1050-221 BCE) and on tiles of the Han dynasty (206 BCE- AD 220). The works Zhang Dawo has done in these scripts are characterized by lines painted in what is called “flying white”, a technique whereby a distinctive effect is produced when the brush is moved fairly rapidly accross the paper and its drying hairs begin to separate. As they do so, they leave white lines within each brushstroke. This technique was first used by the famous Cai Yong (133-192). By using this technique, Zhang Dawo seeks to re-create the pleasure, insecurity and excitement encountered in dreams. Most of his pieces in “flying white” have been done as soon as he wakes up in the morning, when he is still in a dreamy state of mind.
© Copyright
The copyright of the article belongs to the author, please keep the original link for reprinting.
THE END
![[Qing Dynasty] British female painter—Elizabeth Keith, using woodblock prints to record China from the late Qing Dynasty to the early Republic of China—1915-China Archive](https://chinaarchive.net/wp-content/uploads/2022/11/image-191x300.png)
