Go behind the scenes with artist Tong Yang-Tze as she discusses The Great Hall Commission: Tong Yang-Tze, Dialogue.
For the 2024 Great Hall Commission, Taiwanese artist Tong Yang-Tze (born 1942, Shanghai, based in Taipei) has created two monumental works of Chinese calligraphy for the Museum’s historic space. Her project is the third in the series of commissions for The Met’s Great Hall and the artist’s first major project in the United States.
Production credits:
The Met: Director and Managing Producer: Kate Farrell Interviewer: Lesley Ma Editor: Lucas Groth Producer: Melissa Bell Production Coordinator: Lela Jenkins Production Assistant: Malvika Dang Director of Photography: Jeffrey Johnson Jib Camera: Kelly Richardson Additional camera: Lucas Groth Time Lapse Photography: Heather Johnson, Wilson Santiago, Jesse Ng Sound Recording: Matt Modula Original Music: Austin Fisher Interpreter: Vincent (Tzu-Wen) Cheng
Taiwan Unit: CNEX Studio Corporation Producers: Ben Tsiang, Ruby Chen, Chang Chao-Wei , Anita Tung , Lala Chung Cinematographers: Chen Ping-Chi, Lin Chia-Hsien
Special thanks to: Curator Lesley Ma, Tong Yang-Tze, Ho Sze-Peng, Chen Yow-lin, Katy Uravich, Aileen Marcantonio, CNEX Studio Corporation
He said,
there is a part of writing that he is not satisfied with,
or there is a bit of ink rust,
which is not allowed.
Sometimes, when I write, I know
it's not right, I'll die right away.
I can make such a decision.
So, it's not like
painting, you can use paint,
paint, wait for it to dry, then paint, then modify.
Literature and art are
integrated.
When I was in the fourth grade,
I moved from Shanghai to Taiwan.
At that time,
my father and I
started to write.
Every day,
we wrote 100 big words and 200 small words.
Of course,
when I started to write,
I was very good at writing.
I kept writing until middle school and high school.
When we were in the tenth grade,
we had to modify oil paintings, ink paintings, and wall paintings.
We had to fix all of them.
And we,
especially those who studied art,
came here and got a lot of support.
It was a rare opportunity.
Because the food was too abundant,
and the materials were too abundant.
In my memory,
the last time I came here was 50 years ago.
The first time I came to the United States,
I saw a lot of Western oil paintings.
They were very large.
This made me,
I mean, it was very challenging.
I may be able to do bigger things in the future.
But I think,
I've been learning
literary art since I was a child.
I was thinking,
maybe I should try
to make literary art
a contemporary art.
There are many ways of writing,
and many compositions.
In Chinese,
a painting should be placed in a low position.
What is a low position?
It can't be placed according to one's own consciousness.
How big should it be?
This is closely related to space.
That's it.
It means that
the same text
can be presented differently
on different walls.
This is the charm of literary art.
The charm of literary art
will never run out.
The challenge of writing a big book,
in my memory,
is a physical challenge.
It takes about a day
to finish a page.
So,
the most important thing in Chinese calligraphy
is air.
You can't wait until the next day.
That's when the air runs out.
It's a little difficult
to finish a book
at this age.
But I still have the courage
to accept the challenge.
Because I think
there are many structures
in my mind
that I can't imagine.
I chose 16 pages
to make this book.
Because this wall is very big,
I may hang it
in the warehouse of an old car.
I was not satisfied with the first time I went there.
All failed.
When I came back, I made a mistake.
I knew which one was wrong at a glance.
Okay, please take this down.
Take it down.
Take it down first.
But in this way,
I have to make
four or five pages,
six or seven pages in a row.
This time, I used
four or five or six hundred pages.
So, this project is quite big.
Let me see.
I'm afraid it will be too narrow.
No, it won't.
Is it narrower than the top?
But I think the proportion is right.
The size of your work
is the same as this wall.
Yes.
I have different ideas every day.
I started to write big.
At that time, people asked me
why I wrote so big.
I said you were too careless.
I have to write bigger
to attract your attention.
I just want to make a breakthrough
and challenge myself.
Because writing with a pen
and a screen
is a matter of cultivation
and self-cultivation.
I chose the play
to target myself first.
So, in this
selection of questions for the majority,
I think it's dialogue.
Of course, it's dialogue
to myself.
At the same time, I also hope
to have a dialogue with the reader.
The Stone of Tashan can be cultivated.
That is to say,
the position of the major city hall
and the Stone of Tashan
can be cultivated.
What impressed me the most
was that I saw Egypt recently
and saw the historical relics
of many countries.
I saw their works of art.
It really made me face
the impact of this sentence
on me.
This is what we should
learn and maintain.
Of course, according to my traditional
study of calligraphy,
from top to bottom,
from right to left,
I can see the focus of the play.
I will strongly express
the thicker lines
and the finer lines of the calligraphy.
As for the second sentence,
the foot should be careful
and the cloth should not be stopped.
This is a saying of the calligrapher.
This is another point of view
Now, in my personal opinion,
the sincerity between people
is the most important.
Of course, I hope the world is peaceful
and there is no war.
If everyone is sincere
to face the problems they should face,
I think the world will be peaceful forever.
We calligraphy is a multi-layered art.
I believe that
calligraphy art will be revived one day.