Lotus
Chen Hengke Chinese
Not on view
Chen Hengke's masterpiece of design demonstrates the shift in the modern period away from calligraphic to graphic principles. Chen's painting frankly recalls Wu Changshi's numerous renderings of this subject, but strays from the firm, round brushwork that was the underpinning of Wu's work. Chen's dramatic composition groups the contrasting shapes into right angles along two edges of the picture, creating a tension that makes the unused space come alive. Trained in calligraphy since his youth and something of a prodigy, Chen demonstrates in his inscription the power of his calligraphic line to activate a three-dimensional space. Ultimately however, his inscription is subordinated to the surface design.
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