In the ancient Qin and Han dynasties, many excellent calligraphers emerged. During the Jin and Tang dynasties, masters and talents appeared one after another and wrote wonderful calligraphy, much of it considered classic. Numerous great masters also emerged between the Song and Yuan dynasties, creating excellent calligraphy even while drinking and also establishing various schools. Thereafter, the rulers made great efforts to promote calligraphy as an art, and researchers strove to record it and explain it in books. As a constituent of Chinese culture, calligraphy evolved into a fine art in various styles from practical use.Since the early 1920s, calligraphy has been confronted with many obstacles. Although Mr. Cai Yuanpei wanted to “establish a calligraphy specialization” at art colleges, calligraphy was not a part of the national art exhibition. From 1949 to 1979, calligraphy activities were regarded as “minority” art with only a few relevant fairs. The concept of excluding calligraphy from art circles has confined the “art” in narrow sense much more limited, and has affected the scope of collections and research by art museums as well as the arrangement of specialization curriculums at art colleges.

　　The 1980s, on the other hand, were a fortunate and welcome time for calligraphy. It’s true that a single spark can start a prairie fire: the Chinese Calligraphers Association and many other local calligraphers associations were founded, a variety of public societies and organizations devoted to calligraphy came into being, and calligraphy began to be studied in higher education. These developments were undoubtedly inspiring to calligraphy artists.It was a milestone in calligraphy circles when the National Art Museum of China started collecting calligraphy works and prepared to build special calligraphy rooms. This was met with the approval of the relevant national cultural departments. The museum has formally included calligraphy in the fields of academia and research, and has organized a series of activities, such as “Invitation to an Exhibition of Fine Calligraphy by Contemporary Masters”, “The First Nomination Exhibition of Fine Works by Famous Contemporary Calligraphers”, and “An Invitation to an Exhibition of Calligraphy for the Beijing Olympics”. The museum has also called upon elite artists to exchange ideas, and has tried to reestablish calligraphy to its rightful place in the art world. Living in a time of cultural changes at home and abroad, we hope to rejuvenate the Chinese culture. We have felt it is our true responsibility and historical mission to promote the splendid and historical calligraphy of Chinese characters, and to redefine the modern connotation of the elites in traditional culture at a higher standing point. To do that, we plan to publish a new book entitled “A Collection of Works by Contemporary Masters at the National Art Museum of China: Calligraphy Section”, which will gather together many masters with different styles. Such a collection will be suited for both researchers and readers.

　　Wei Siqin, one of the chosen masters in this section, is a young female calligrapher with remarkable achievements. Wise and talented, she is accomplished in writing, handwriting and drawing. Her small standard script is plain and natural, and her running script in brush is passionate and vital, integrating cursive script with the calligraphy style in the Ming dynasty. It is believed that the beauty of both her calligraphy and her diction will bring about unmatched artistic enjoyment.

　　The publication of such a collection is expected to make us clearly realize the many factors affecting the development of Chinese contemporary art and how to explore its future through new creations. With great support and concern from all walks of life, the National Art Museum of China will make its contribution to the development of Chinese calligraphy, and leave a legacy for the development of calligraphy art for generations to come.

　　Fan Di’an

　　Director of the National Art Museum of China

　　August 2007