Artist: Nan Zhi Guo
Juggling multiple identities, Professor Nan Zhi Guo is a part-time lecturer at NTU, an artist, a prolific calligrapher, the author of more than 10 books, a private collector, a literary and fine art commenter, the honourable Chairman of Bukit Timah Literature Centre, and Vice President of the United Chinese Library, among others. Widely popular among collectors in Singapore and China, Professor Nan’s Chinese calligraphy works are highly sought after for their unique style.
In his adolescent years during the 1980s, Professor Nan studied at a regular high school in the Dabie Mountainous area in Hubei. This youth, born into a farming family, chose English Language and Literature as his academic major, which allowed him to leave his hometown to study abroad, where he would also meet his wife in University. This decision marked a pivotal moment in Professor Nan’s life as his talent for language and translation, the humanities and the fine arts, history and calligraphy would be cultivated through his Chinese cultural roots and his experiences in a foreign land. In 2001, Professor Nan received a scholarship to study his Ph.D in the National University of Singapore where he immersed himself in the local cultural and historical landscape. In particular, Professor Nan was highly interested in the history of the Chinese Education Department and published numerous impressive theses over the years that have received widespread recognition.
From a village boy in Hubei to a renowned artistic figure with multiple academic, literary, and artistic accolades, Professor Nan Zhi Guo credits his hard work, determination, and luck to his successes. Professor Nan’s wisdom has led him to believe that the future is volatile and that there are blind spots in life that are unforeseeable and thus unplannable with absolute certainty. However, these blind spots also signify a turning point, which may lead us to a different path that contains unimaginable possibilities for our potential to be maximised!
飘 人生没有彩排 如果風有颜色
飘 (Float/Drift) conjures the image of leaves scattered by the wind or flag drifting in the breeze, swaying gently with no obvious purpose other than succumbing to the forces of the air. Alternatively, one may think of a lonely, haunting apparition floating over a lake or lingering near a village, as she waits for someone or something. Either way, 飘 (Float/Drift) conveys a sense of solitude, tranquillity, aimlessness, and passivity that may be both soothing and strangely unsatisfactory. Art goers may feel inspired to follow the flow of life unhurriedly, or they may feel a sense of urgency to accelerate their progress rather than drift along leisurely. The magnetism of Professor Nan Zhi Guo’s calligraphy therefore lies in the feelings and thoughts it arouses within the audience who may be in different stages of their lives. Whether 飘 (Float/Drift) is a call to action or to calmness is up to art appreciators to ponder over.
人生没有彩排 (There is no Rehearsal in Life) is Professor Nan Zhi Guo’s sacred advice to his audience. As a farmer’s child, Professor Nan probably never foresaw his life’s trajectory and that would turn out as it did, or predict the soaring feats he would achieve in adulthood. Hence, he urges others to be present in the moment and to work hard rather than engaging in a somewhat futile preparation for the unpredictable future that may change within a split second. The future is a concept that is unrealised and dependent on our present actions, for the kind of fruits the tree of life bears rests on the seeds we plant today. Moreover, time slips past quickly without a possibility for recapturing the exact moment, and rehearsing for life rather than living it may thus represent a basket of missed chances in hindsight.
Have you ever wondered what it would be like if the wind had colours? 如果風有颜色 (If the Wind had Colours) poses this question to art appreciators who may instinctively think of the song in the Disney film Pocahontas, that may bring a smile to the faces of children and adults alike. On a deeper level, the wind may have a spiritual symbolism for the breath of life and Nature. If the wind had colours, would it be pink, yellow, green, blue, or multicoloured, and why that colour? An environmentalist may say that with environmental degradation, the wind would be red, the colour of danger that warns us of the impending doom. A sociologist may say that the wind is multicoloured, as it represents the diversity in different social categories. A religious figure may say that the wind is blue, because like the sky, the Divine Creator(s) is/are all around us. A pre-schooler might exclaim, “the wind has no colour”, for he/she is still at the stage of taking things literally. Professor Nan once again inspires contemplation within art viewers who may pause and consider this question seriously, even for a brief second.
誠毅 閑安 毫端蘊秀
誠毅 (Sincerity/Integrity and Perseverance) are important virtues that Professor Nan Zhi Guo value, evident by each intentional, concentrated brush strokes in this calligraphy piece. After all, Professor Nan’s successes in various domains are due to his artistic and intellectual integrity when approaching his subjects, and his authenticity in expressing himself through his written or painted words. Professor Nan is also a firm subscriber to the merits of perseverance, for his achievements were not attained overnight but the accumulated efforts of years of research, studying, and practice. Nonetheless, 閑安 (Leisurely Peace/Rest) may be Professor Nan reminder to us to enjoy life and the moment even as we work simultaneously. The two concepts may not always be mutually exclusive and can be complements for after a hard day at work, we should maximise our period of rest to thoroughly recuperate and recharge for the next morning.
Lovers of Chinese culture and literature may remember the “Song of Burial Flowers (葬花吟)” recited by Lin Daiyu (林黛玉) in Dream of the Red Chamber (紅樓夢) by Cao Xueqin (曹雪芹). In the poem, Lin Daiyu laments the temporality of life and the passing of spring. In one line, she cries that “毫端蕴秀临霜写，口齿噙香对月吟”, which may be translated to the withering delicate flowers that lose their fragrance and colour with the coming winter, leaving one to muse in the moonlight with an atomic breath. 毫端蘊秀 (Delicate Grace/Elegance) is Professor Nan’s way of emphasizing the passing moments of life that are beautiful and short lived, as he plays tribute to this literary classic.
何樂而不可為 玩 愛簡單
In the moment of exuberance, 何樂而不可為 (Inaction Despite Happiness) is a precaution against hasty action spurred by ecstatic feelings. Indeed, one should enjoy happiness but Professor Nan’s piece highlights rationality before feelings. Despite happiness, if the action one is about to take may compromise our wellbeing, we should pause and reconsider.
On the flip side, with age and maturity, individuals may lose the ability to play, a simple, precious, and almost instinctive quality that is found in every innocent child or carefree mind. The single word 玩 (Play) emphasizes its significance, and the art piece calls for the audience to be joyful and fun-loving. Play is part of one’s healthy, all-rounded sustainable development and a positive way to interact with the people around us. When we play, we stretch our imagination and creativity, bond with others, and learn more about ourselves and the world around us. If play makes you happy, take action and play!
The themes of simplicity and clarity in thought in 玩 (Play) is echoed in 愛簡單 (Love Simplicity). The trend of minimalism encourages individuals to discard unnecessary objects and minimise worldly possessions, and to instead find fulfilment from within. The larger lesson of this lifestyle is also to learn to let go and love simplicity. Simplicity does not have to be boring or plain, but it can instead bring about self-reflection and peace without physical or psychological clutter.
When asked about the relevance of calligraphy in an increasingly digitised world, Professor Nan Zhi Guo once replied that the intricate, meditative process of calligraphy can never become outdated. He described the feel of the brush in his hand, the pressures his fingers applied when writing different words and phrases, and the soulful nature of the finished artwork. Professor Nan’s signature writing style and the words he chooses demonstrate the emotive quality of calligraphy and the power of language, which will forever remain in style.
Goshen Art Gallery will be holding a joint exhibition for the works of Professor Nan Zhi Guo and Mr Zhao Hong between 20 July and 1 August 2021 between 11am-6pm.
