Period:Unknown Production date:1990
Materials:paper
Technique:
Subjects:calligraphy
Dimensions:Height: 73.90 centimetres (Height including backing paper) Height: 68.90 centimetres (Height of original paper) Width: 74.20 centimetres (Width including backing paper) Width: 69 centimetres (Width of original paper)
Description:
One of two scrolls with calligraphy, made of black ink covering almost the whole surface of the paper.
IMG
![图片[1]-calligraphy BM-2001-1003-0.1-China Archive](https://chinaarchive.net/Unknown/Calligraphic works/mid_00800855_001.jpg)
Comments:Barrass 2002:Wang Nanming’s “Black Series” of the late 1980s includes some of the most abstract modern calligraphy produced in China at that time. In his view, as well as being an elegant traditional system of writing and the basis of an evocative form of modern art, calligraphy could be regarded as representing the darker side of Chinese society. He felt that over the centuries its purpose had been perverted in that it had been deployed as a mechanism for social control. Not only had the complexity of its scripts limited the spread of education and so blocked routes to privilege, but a cult of respect for calligraphic skills had been encouraged which ensured that the young deferred to their elders and the illiterate to the educated. This feeling of oppression has been captured in the ‘Black Series’, where the painted black spaces prevail on those kept plain white.
Materials:paper
Technique:
Subjects:calligraphy
Dimensions:Height: 73.90 centimetres (Height including backing paper) Height: 68.90 centimetres (Height of original paper) Width: 74.20 centimetres (Width including backing paper) Width: 69 centimetres (Width of original paper)
Description:
One of two scrolls with calligraphy, made of black ink covering almost the whole surface of the paper.
IMG
Comments:Barrass 2002:Wang Nanming’s “Black Series” of the late 1980s includes some of the most abstract modern calligraphy produced in China at that time. In his view, as well as being an elegant traditional system of writing and the basis of an evocative form of modern art, calligraphy could be regarded as representing the darker side of Chinese society. He felt that over the centuries its purpose had been perverted in that it had been deployed as a mechanism for social control. Not only had the complexity of its scripts limited the spread of education and so blocked routes to privilege, but a cult of respect for calligraphic skills had been encouraged which ensured that the young deferred to their elders and the illiterate to the educated. This feeling of oppression has been captured in the ‘Black Series’, where the painted black spaces prevail on those kept plain white.
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