Articles & Poetry

Being an Angel

Far away,
Beyond this unbearable being of mine
Was a wonderland.
On my wings,
I flew into my dreams
Along the Milky Way.
Chasing the moon and playing with stars,
I was happy and free—
Until someday
A nightmare took my wings away.

On my wings I flew like a dream
Until a rainy day.
In my dreams I question Heaven:
Shall I be free again?
Shall I be fallen?
Shall I bear my pain?
Shall I dream to my end?
Until The Judgment Day
In your glory
I’m an angel again!



 



My Magic Boat

In my magic boat
With a sail of rainbow,
I was across the deep, blue ocean
Traveling all alone.

Under the azure sky--
To find a never-land,
Cheered by the sun,
Singing to the moon.

In my magic boat
With a sail of rainbow,
I was tossed by the surging ocean,
Storming all along.

Following my guiding star,
Floating with dreamy clouds—
Soaring up and high
Into a never-land.

Unconstrained Freehand Cursive Script: A Revolution in Chinese Calligraphic Art

International Journal of Politics, Culture and Society, Volume 8, No. 3, 1995

 

Jia Chen and Kwong Lum


A new calligraphic style called Unconstrained Freehand Cursive Script has the distinctive artistic features of both ancient and contemporary Eastern and Western painting. This Freehand Cursive Script profoundly influenced by certain Taoist ideas and invented in 1990 in a moment of inexplicable creativity by the authors, marks a stylistic breakthrough in the centuries-old tradition of Chinese calligraphy. It is novel in both its conception and skill requirements and poses a bold challenge to conventional calligraphic art criticism and creation.

The Philosophical Origin of the Black-White System of Chinese Painting

International Journal of Politics, Culture and Society, Volume 8, No. 3, 1995

 

Chinese by Dongfang Hu
English by Jia Chen

 

Although philosophy and a visual art form like painting belong to two different categories of learning, there must be certain links between them. For instance, the art of painting can be considered a visual representative of a culture, while, in a similar manner, philosophy can be treated as its logical and rational aspect, reflecting in a great degree the culture's ideational presuppositions. Figuratively speaking, the relationship between philosophy and painting is rather like that between two branches growing out of a same tree trunk. It is in this sense that, without taking into account their philosophical origin, no one can answer such long existing issues as why the traditional Chinese painting style is uniquely characterized by the remarkable effect of black brush-inkwork on white rice-paper and why, for centuries, the Chinese have deified black and white in their art works to the point of infallibility. In the context of Chinese painting, the technique of leaving a blank space functions in both aesthetic and philosophic senses. Why has such a technique been invented only by the Chinese whose color preference and philosophic consciousness are entirely different from those of Western oil painters?

The Recovery of the Tang Dynasty Painting: Master Wang Wei's Ink-Wash Creation “On the Wangchuan River”

International Journal of Politics, Culture and Society, Volume 11, No. 3, 1998

 

Jia Chen and Kwong Lum


Carl Nagin's recent query concerning the authenticity of the Metropolitan Museum of Art's recently acquired Chinese painting, "The River-bank," attributed to the Five Dynasties (907-960) master, Dong Yuan, and donated by Francis Y. Tang in May, 1997 from the C. C. Wang family collection, has touched off a controversy. In his article for The New Yorker magazine (August 11, 1997), Nagin notes that this invaluable landscape painting, likened by C. C. Wang to Leonardo da Vinci's "Mona Lisa," should be considered a forgery, possibly executed by the late notorious Chinese artist, forger, and art dealer Zhang Daqian (1899-1983).

Copyright 2013 © Jia Chen