Shu Chuan Ch'i a unique feature in Chinese art

Dear Friends,

Shu Chuan Ch'i, or literary flavor, indicates a style reflecting an aura of learning and refinement, literally "an atmosphere of books and volumes". This quality has long been cherished in Chinese fine arts, such as painting and calligraphy. Shu Chuan Ch'i within a painting implies more than a reflection of literary taste. Shu means to write; therefore a Shu Chuan Ch'i painting must also possess a calligraphic flavor.

T'ang Hsuan Tsung, in the second reign of the T'ang dynasty (in the seventh century), was the first to recognize the affinity of the three arts -- painting, calligraphy and poetry -- when he praised the artist Cheng Ch'ian's achievement in these three fields. Since then, these three arts have been widely practiced and linked together through the ages.

Calligraphers use poems in their writings, either some they write themselves or they quote other poets, as a component part of their compositions. Painters, likewise, include poems or poetic phrases in their paintings as part of the total composition. But even without a poem, a painting can be Shu Chuan Ch'i when it shows poetic qualities.

A great master of the Sung period, Su Tung-P'o (1036-1101), once commented on the work of the T'ang master Wang Wei, "There is a painting in his poem, and a poem in his painting." This is the essence of literary flavor.

Having been influenced by Taoism, scholars through the centuries have been lovers of nature, and have sought inspiration from mountains and rivers. Meetings with the literate in a rural setting have been enjoyed and cherished at all times in Chinese history. The scholar-friends drank together, painted together, and wrote poetry and calligraphy together. In a composition, of course, the lines used in both the painting and its accompanying calligraphy must be harmonious. In other words, a bold style of painting needs bold calligraphy; a finer composition must be matched by delicate handwriting, so as to keep the entire composition in harmony.

A Ch'ing painter, Sheng Ta Shih, in his Memoir on Landscape, stated: "there are paintings by scholars, and there are paintings by professional artists. The scholar's work is inspiring, although it may be stereotyped. Therefore, the inspired work is far better than the technically perfect works without depth."

Sheng may be too biased. However, this was the general attitude among the scholar-painters, and this attitude permeated the whole art world during the late Ming and early Ch'ing period (17th-18th century). Thus, the Wen Jen school of literary painting continued to flourish. This school of painting has lasted well into the 20th century. Chen Shih-Tseng, a very talented artist who died in the early 1920s, once discussed the essential elements that a Wen Jen artist must possess: (1) nobility of charter, (2) a thorough education, (3) talent and (4) profound, inspiring thoughts.

When one starts to write or paint, he should keep going without any hesitation, for once the continuity is interrupted, the life force is broken. Shu Chuan Ch'i represents this kind of continuous movement and, therefore, is a vital element in both the execution and the critique of a piece of art, painting or calligraphy.

The Grape, a painting by Wu Ch'ang-Shuo (see picture), illustrates best the twofold meaning of Shu Chuan Ch'i: (1) scholarly quality and (2) calligraphic harmony. Traditionally, works with scholarly flavor are more highly regarded by connoisseurs.

Since The Grape was executed in one breath, in the manner of the Mad Grass calligraphic style, coupled with the fact that he inscribed his painting with a poem, the whole painting is indeed a good blend of the three arts: painting, calligraphy and poetry.

The arrows indicate continual movement within the composition. Literary flavor is indeed a special feature in Chinese art.

-- Kwo Da-Wei