The present paper explores tendencies of deconstruction in modernist Chinese calligraphy. It could be shown that Mao with his attitude towards classical calligraphy and education in China had large influence on the further artistic development. The theoretical introduction to Derrida's theory on Deconstruction and deconstructivist tendencies in Old China formed the basis for an attempt to prove this theory by elaborating on several selected artists who are especially important for calligraphy

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... d on their calligraphic works. Analyses showed that much inspiration for the artist arises from own tradition. However, it also showed that philosophical and artistic European theories proved a strong influence. For, following Mao's regime and prior to the massacre at Tian'anmen Square in 1989, artists were verifiably given a certain access to European art theories. They therefore treat their own history and their experiences with Mao's regime as well as cultural calligraphic aspects and European ideas. Artists were motivated to express themselves in the deconstructive forms of calligraphy by the question for an own identity, which had been affected by the egalitarianism and levelling of a communist regime and its treatment of calligraphy and the own culture.