Boundless calligraphy draws outside the lines

Photo provided to China Daily

Chen first picked up the ink brush as a little boy. His mother had a friend named Li Guoxiang, who once studied under the ink art maestro Zhang Daqian.

"My mother sent me to study calligraphy from her. I studied with Li for years, training and practicing every day."

In the years of the "cultural revolution" (1966-76), intellectuals, artists and scholars were sent to the rural areas to "learn from the people". As a young man hungry for culture, Chen went to learn from them.

"They were moderate and happy to share their knowledge when they recognized you as a worthy and willing listener," he recalls.

"But on the other hand, you have to 'steal' the concealed tricks of their art. You would have to really understand their art, to grasp the details and techniques they keep for themselves."

It's believed calligraphy and painting share the same origin in China. The flow of the strokes, use of the brush and ink, and the compositions of whole works, all reflect the same aesthetic pursuit.

Chen's paintings mostly depict landscapes and feature lines that are typically evolving from Chinese calligraphy, while his use of colors shows hints of European Impressionism.

To present the right shades of green-his favorite color-in his painting, Chen made his own pigment, grinding minerals and processing them to depict the mountains, clouds, bamboo and shrubs.

Chen was among the 40 artists selected from all over the country to present at the 2010 Shanghai World Expo. The Chinese artists went on a tour to Europe, meeting local artists, exchanging creative ideas and showcasing their works. The group, joined by Western artists, then took a sketching and creative journey throughout China. The project, named Dialogue of Civilizations, went on for two years, inspiring Chen to use new elements in his work.