Calligraphy, or the art of writing, was the visual art form prized above all others in traditional China.

Assistant Curator Joseph Scheier-Dolberg introduces some of the major themes and artworks found in the new exhibition Out of Character, on view through August 17.

Grab your brush and ink and give calligraphy a try to commemorate the Lunar New Year!

Objects from different periods and regions vary in the use of calligraphy in their overall design, demonstrating the creative possibilities of calligraphy as ornament.

In May of 1985, an international symposium was held at The Metropolitan Museum of Art in honor of John M. Crawford, Jr., whose gifts of Chinese calligraphy and painting have constituted a significant addition to the Museum's holdings. Over a three-day period, senior scholars from China, Japan, Taiwan, Europe, and the United States expressed a wide range of perspectives on an issue central to the history of Chinese visual aesthetics: the relationships between poetry, calligraphy, and painting. The practice of integrating the three art forms—known as san-chiieh, or the three perfections—in one work of art emerged during the Sung and Yuan dynasties largely in the context of literati culture, and it has stimulated lively critical discussion ever since. This publication contains twenty-three essays based on the papers presented at the Crawford symposium. Grouped by subject matter in a roughly chronological order, these essays reflect research on topics spanning two millennia of Chinese history. The result is an interdisciplinary exploration of the complex set of relationships between words and images by art historians, literary historians, and scholars of calligraphy. Their findings provide us with a new level of understanding of this rich and complicated subject and suggest further directions for the study of Chinese art history. The essays are accompanied by 255 illustrations, some of which reproduce works rarely published. Chinese characters have been provided throughout the text for artists names, terms, titles of works of art and literature, and important historical figures, as well as for excerpts of selected poetry and prose. A chronology, also containing Chinese characters, and an extensive index contribute to making this book illuminating and invaluable to both the specialist and the layman.

Beyond Representation surveys Chinese painting and calligraphy from the eighth to the fourteenth century, a period during which Chinese society and artistic expression underwent profound changes. A fourteenth-century Yuan dynasty (1279–1368) literati landscape painting presents a world that is totally different from that portrayed in the monumental landscape images of the early Sung dynasty (960–1279). To chronicle and explain the evolution from formal representation to self-expression is the purpose of this book. Wen C. Fong, one of the world's most eminent scholars of Chinese art, takes the reader through this evolution, drawing on the outstanding collection of Chinese painting and calligraphy in The Metropolitan Museum of Art, New York. Focusing on 118 works, each illustrated in full color, the book significantly augments the standard canon of images used to describe the period, enhancing our sense of the richness and complexity of artistic expression during this six-hundred-year era. Placing equal emphasis on stylistic analysis, social context, and cultural values. Professor Fong considers several issues in Chinese art history: style and its social functions, the changing fortunes of the artist, antiquity and synthesis as guiding principles, and the Chinese view of creativity and change. In this exploration he highlights three areas of artistic accomplishment: narrative painting, the depiction of landscape, and the calligraphy and calligraphic painting of the scholar officials. Moving from art to history he outlines the schism within the Confucian state during the later Sung and the Yuan dynasties between the ruling imperial ideology and the humanist philosophy of the scholar officials, with the consequent rise of literati painting as the true voice of the Chinese artistic sensibility. The branching off into official and private narrative is mirrored in religious painting: while professional craftsmen continued the practice of courtly techniques in the painting of icons, Taoist and Ch'an Buddhist painters adopted scholarly aesthetic principles to create new, highly individualistic images and styles. Unlike narrative representation, which had a long history of development prior to the Sung, landscape painting began to emerge as a preeminent art form in the tenth century, reaching its zenith during the Northern Sung (960–1177), a golden age of art and cultural development. From the second half of the eleventh century, painters turned increasingly from more objective naturalistic landscape to landscape imbued with human emotion, breaking away from officially sanctioned pictorial conventions to create more symbolic representations of single flowers, rocks, and trees. By the time of the Yuan dynasty, following the Mongol conquest of 1279, objective representation in art had been replaced by imagery that drew on the artist's inner response to the world. At this time, the painter began to inscribe poems and incorporate calligraphy in his works, the meaning of the painted subject made complex by personal and symbolic associations enhanced by its expression in language. With the multiple relations between word, image, and calligraphy forming the basis of a new art, Chinese painting entered its richest and most diverse stage of development.

Integrating calligraphy, poetry, and painting, scholar-artists for the first time combined the “three perfections” in a single work.