Calligraphy, or shufa, is one of the four basic skills and disciplines of the Chinese literati, the other three being painting (hua), playing a stringed musical instrument (qin) and board games (qi). Calligraphy is the art of writing Chinese characters, usually with brushes. It is generally accepted that Chinese writing and drawing share the same origin. Because of this, the Chinese character has a history that probably dates back as much as 6,000 years at the apex of the Dawenkou culture (4000-2000 BC).

The photo on the left shows an ancient sunrise painting. The painting was a design inscribed on a big-mouthed pottery jar used as a sacrificial vessel in ceremonies to honor the sun in Shandong during the Dawenkou period.

This design consists of three parts: upper, middle and bottom. The upper part is a depiction of a round sun. Below that is a moon. A huge mountain with five peaks fills the bottom. Some experts believe this might be the original character for   (dan, fourth tone) which means "sunrise", with the sun above a cloud (or perhaps above the setting moon), on top of a mountain. The same character appears in inscriptions on bone or tortoise shell, on ancient bronze vessels, as lesser seal characters, and in certain official and regular scripts.

The origin of the character is the picture.

However, this brief etymological introduction should not deter readers, especially those with little knowledge of the Chinese language, from appreciating calligraphy as a fine art.

Picasso, when asked to explain the meaning of one of his paintings, replied: “This kind of question can no longer be asked.” The same thing is true of calligraphy, the essence of which is art.

Li Sizhen, a famous calligraphy critic from the Tang Dynasty (618-907), described Wang Xizhi’s calligraphy as being “like breeze flowing out of one’s sleeves and the bright moon hanging over the shoulder, which makes one relaxed and happy”. In the ninth century, Han Yu (768-824) wrote an essay entitled, “To the Monk Gao Xian” (Song Gao Xian Shang Ren Xu). Gao was a famous monk who, whether pleased with life or unhappy, would express his feelings through calligraphy.

Therefore, one should not expect that calligraphy as an art form would necessarily have a more literal meaning. Like any other art form, it is used to give life to one’s emotions, which can be aesthetically pleasing and that elicits a reaction from those who look at it.

At a symposium on calligraphy organized by the New York Qin Society in New York City on December 9, 2000, Dr. Leon L. Y. Chang told his audience that there is something moving inside calligraphy, which is nothing more than essentially a graphic art of line and design. He noted: "The study of line has not… been confined to calligraphy, or the east."

The Bauhaus faculty was intrigued with linear patterns. Professor Johannes Itten had a class there in which students studied the linear rhythms of scribbles they made at random.

In this sense, viewers of Chinese calligraphy can reasonably appreciate it in the way they appreciate an abstract painting. This is precisely the case with an average Chinese person who, when looking at a piece of wild cursive (kuang cao) calligraphy, appreciates the enchanting beauty of the work, despite his inability to recognize the Chinese characters which are written very differently from regular script.

Dou Meng from the Tang Dynasty wrote a two-volume book on the history and appreciation of calligraphy. He developed 120 terms to describe different styles of calligraphy and the criteria for the appreciation of calligraphy. The following is a list of the first 15 of these expressions, with explanations by Chiang Yee:

1. Ability. A work of ability presents a thousand possibilities.

2. Mysterious. Mysterious work stirs the imagination.

3. Careful. A carefully executed work demands both inspiration and technique.

4. Carefree. A carefree style has no fixed direction.

5. Balance. A well-balanced composition indicates serenity.

6. unrestrained. An unrestrained composition implies daring.

7. Mature. A matured work is free from sentimentality.

8. Virile. A virile work is one in which strength is paramount.

9. Grace. A gracefully executed work has no peer.

10. Sober. A sober work is one without pretension.

11. Well-knit. A well-knit work is one that is both well conceived and well developed.

12. Prolix. A work that starts well but tails off is called prolix.

13. Rich. A work of richness implies perfect harmony between brushwork and ink.

14. Exuberant. An exuberant work is one full of feeling and vigor.

15. Classic. A scholastic work can be termed a classic.

These terms serve as a reference for the general appreciation of Chinese calligraphy. Different dynasties had their characteristic dominant styles and criteria. In addition, a general knowledge in the history of Chinese calligraphy and the actual practice of this unique art will enable one to have a better understanding and appreciation for calligraphic works.

Reference:

Bonan, Guo 1995. Gate to Chinese Calligraphy. Beijing: Foreign Languages Press.

(China.org.cn, July 9, 2007)