Walk 10,000 miles, and read 10,000 volumes of books - Bertrand Mao, Chinese Water Ink Painter and Calligrapher - Written by Mark Hsen (G-High B, 沈偉群)

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Guest Speaker Mr. Mao

Walk 10,000 miles, and read 10,000 volumes of books
-- Bertrand Mao, Chinese Water Ink Painter and Calligrapher
Written by Mark Hsen (G-High B, 沈偉群)

In a series of two sessions, respected Chinese water ink painter and calligrapher, Bertrand Mao came and spoke to Gaithersburg Chinese School about the art of Chinese water ink paintings and Chinese calligraphy.  The Potomac resident has practiced this unique art form for over fifty years, painting, teaching, and lecturing.  Originally trained as a lawyer, he served the Taiwan government for several years, eventually stationed in America.  Throughout his life, he has practiced calligraphy as a hobby.  Sometime ago, he had a change of heart and began to paint as a profession.  Mr. Mao said that a liberal arts education is helpful in understanding the art of Chinese painting and calligraphy.  Those who study the liberal arts understand more about the art than technicians because they understand more than just techniques and can enjoy the art.  A Chinese belief of becoming an exceptional painter and calligrapher is to have every stroke appear to move, walk 10,000 miles, and read 10,000 volumes of books.  It is believed that at the end of the journey, one will have enough experience to excel at Chinese painting and calligraphy. 

In the first session October 24, 2004, Mr. Mao spoke about Chinese calligraphy and immediately dispelled misconceptions of calligraphy.  He emphasized the point, that the word calligraphy really wasn’t sufficient to describe the art form.  In Western culture, calligraphy is not the same thing as Chinese calligraphy.  Chinese calligraphy is more than simply fancy cursive handwriting, but the basic skills for art.  Many Western artists such as Piro, Picasso, and Van Gogh took inspiration from the beauty of Chinese calligraphy and also many Eastern cultures such as Japan and Korea take after the Chinese calligraphy.  Mr. Mao then discussed the techniques of shu fa.  The first technique used the tip of the brush, while the second technique used the side of the brush.

During the second session on October 31, 2004 the following week, Bertrand Mao lectured about Chinese water ink paintings.  Chinese paintings are abstract and painted from the mind.  They do not make sense to Western perspective because one does not paint from what is seen with the eyes, but painted from what is thought up.  Chinese painters use imaginations to think up different backgrounds and perspectives.  There are multiple focuses and multiple points of perspectives.  A single painting is like a plethora of different pictures put together.  The analogy given by Mr. Mao is like a life-size scenery and a viewer on a horse, slowly riding by.  Usually water ink painters paint landscape or nature.  Landscape is not an appropriate word to describe the paintings.  In direct translation, the type of painting should be called Shan Sui; “mountain water paintings.”  These paintings of mountains, clouds, and villages are all thought up in the mind, and expressed through the brush.  Nature paintings are often of bamboo, birds, flowers, etc.  Although appearing simplistic, Mr. Mao cautioned that the simplest objects are the hardest to draw.  Many spent their entire lives on drawing bamboo, but still unable to produce perfect paintings.  Most paintings are without color, using simply darker and lighter shades of ink to show dimensions.  Paintings are balanced well, with a mixture of painting, writing, and red seals.  Seals, which are made of soft stone, are either the name of the artists or proverbs.  Often paintings use negative space and have various areas that are left blank.  The purpose of this is to give viewers a break to absorb the picture.  It leaves room for imagination, so the viewer can think what he/she wants about the painting.

Mr. Bertrand Mao has a studio in Gaithersburg where he paints, gives lessons, and also gives demonstrations and lectures.  Mr. Mao donated two of his demonstrated painti ngs to the Gaithersburg Chinese School.   By listening to the two informative lectures, we all benefited from Mr. Mao’s expertise and knowledge.  We thank him for his time and paintings.

毛先榮為學子暢談中華書畫常識
蓋城中校展開系列中華文化講座

為了提昇華裔子弟們一般性的中華文化常識，蓋城中文學校校長林秀蘭邀請了大華府地區的學者專家們來校介紹中華文化。由藝術、政治、電影、哲學各個不同的角度，和該校高中生及家長們一起研究和討論。該校希望在海外成長的華裔下一代經由這些文化講座，對自己的文化有所了解，進而認同自己的根源並能引以為榮。

十月份連續兩週 (十月二十四日和三十一日) 的中華文化講座，蓋城邀請到華府著名的書畫家毛先榮 (或毛戎) 來談「書法與國畫的欣賞與常識」。毛先榮從中國字發源的象形文字談起，他鄭重告訴大家：中國字每個字都是藝術，同時也傳達了一種美和訊息。毛先榮在介紹國畫時表示：中國畫是由毛筆字開始，由草書、隸書去畫竹莖和竹葉。毛筆字有中鋒、圓筆、側峰、方筆等各種不同的用筆法，中國人其實是用繪畫的技巧在寫字，相反的，一個人不論知不知道中文都可以學字畫，比如他的一些美國學生雖然不懂中國字，卻能用毛筆畫出動人的中國畫。毛先榮特別強調：中國畫並不寫實，而是講求「神似」，注重線條但很少用顏色，國畫尤其講究「氣韻生動」，每一筆都要讓人有「動」的感覺。毛老師勉勵同學們要「讀萬卷書，行萬里路」，因為唯有多讀多看多學，才能讓所畫的東西「氣動」。毛老師不但介紹了由元朝以下各代名家的書畫，還比較了東西方繪畫的差異，並勉勵學生們培養藝術的修養和內涵。學生們圍著毛老師目睹他揮毫展示各式書法，以及畫出許多竹子、蘭花，不禁好奇地發出一連串問題：國畫中的白雲和瀑布如何畫？為什麼要在書畫作品上蓋章？雖然只是一些小小的問題，但是一顆種子己經埋下，他們的心中己經看見了中華文化的奧妙。

十一月份蓋城中文學校將邀請任職於美國國務院的陳一川先生來談「中國人的思想及其影響」，歡迎大家一起來研究探討這個主題。 (蓋城中文學校彭永芳稿)