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Introduction
Chinese calligraphy is one of the premier practices of Chinese art and is considered an essential feature of Chinese culture. This technique is used by the artists to transmit their thought, and at the same time, present the abstract magnificence of the line. Chinese calligraphy presents rhythm as well as line and structure in a strong and flawless manner. Calligraphy requires a quiet mind and deep concentration. The beauty of calligraphy is realized only when we combine the expressions of the words with the external resemblance (“Calligraphy”, par.1).
In his lecture at Independence High School, Charlotte, U.S, the Director of the Confucius Institute at Pfeiffer University, , Prof. Yan emphasized the need to learn Chinese calligraphy for the proper understanding of traditional Chinese philosophy. According to him, “Both practicing Chinese calligraphy and the ways to appreciate it embody Chinese philosophy” (qtd. in Tu, par.6).
Chinese calligraphy is an expression of the calligrapher’s thoughts, hence, it promotes creativity. It allows the writer to think from different point of views. It also helps in establishing a systematic connection of thoughts (Tu par.7).
Chinese historical records reveal that Chinese calligraphy originated in its real form somewhere between the second and fourth century. Chinese civilization has evolved through several dynasties and Chinese calligraphy has also developed with this course of development. Initially, during the Shang Dynasty period, it emerged in the form of Shell bone writing known as Jiaguwen, and bronze inscriptions called Jinwen.
Later, it evolved to regular hand called Kaishu and running hands called Xingshu during the Three kingdoms period. In course of time, the art converted to the mainstream with the advancement of cursive hand known as Caoshu, running hand referring to Xingshu and regular script known as Kaishu These styles took place of the seal script and the official script. Several calligraphers such as Ouyang Xun, Liu Gongquan emerged with their different styles during this period. Wang Xizhi was the most prominent calligrapher of that time. He inspired several upcoming calligraphers even until the Tang Dynasty with his creative accomplishments.
During Tang Dynasty, this art flourished and significant theories on Chinese calligraphy were published. The succeeding periods of Five Dynasties and Yuan Dynasty had to witness great political turmoil. The disturbances caused by wars and political unrests, definitely, had an adverse impact on the development of calligraphy. However, Ming Dynasty and Qing Dynasty again saw the booming of calligraphy as an art and produced important calligraphic pieces that inspired the later generations of calligraphers (Ren, par.2).
Thus, Chinese calligraphy evolved through several dynasties and established as an art having five main calligraphic styles:
- Seal Script (ZhuanShu): This style is considered to be an early style that resemble with a picture.
- Official Script (Li Shu): It was developed during 722-230BC. The characters are similar to the present Chinese characters.
- Regular Script style (Kai Shu): It is the most common style and is used for printing purposes.
- Running Script style (Xing Shu): This style is applied in handwriting.
- Swift Script style (Cao Shu): This style is also used in handwriting and allows easier and smooth flow in style. The strokes in calligraphy are perpetual and persistent; hence, require cautious planning and assured application (Li 194).
Chinese philosophy and development of Chinese calligraphy
Chinese calligraphy has bloomed through several years and is practised by more people in China when compared to the other forms of art. However, past few decades have witnessed a significant and sweeping change in the art of calligraphy. This ancient valued art has gone through the most vibrant developments.The classic Chinese philosophies mainly, Taoism, Zhuangism, and Confucianism have a great influence on Chinese calligraphy.
The basic principles of Chinese calligraphy represent the Taoist perception. Further, the abstract beauty of Chinese calligraphy is also an interpretation of the basic principles of Taoism. The Confucian line elucidates mainly the social and moral values.Zhuangism underlines the notion that perfection can be attained through practice; however, it also supports the idea of spontaneity and free expression. These ideas have been the prominent basis of interpreting Chinese calligraphy of late (Wu and Murphy 320).
Taoism and Chinese calligraphy
The idea of Tao as the basic principle of calligraphy is to have harmony of the calligrapher and the nature. In the second century, developments in philosophy and literature gave way to the involvement of pure aesthetics in the Chinese calligraphy. It was then considered more than merely a skill and was associated with the aesthetics of the human spirit. Ti’ai Yung was a great scholar and calligraphist of the second century who laid down the principle that calligraphy is stimulated by one’s internal calmness. He said that the desire of creativity or idea of writing comes from within and calligraphy is a medium through which one can release one’s self.
According to him meditation and contemplation help in bringing spontaneity and naturalness to one’s brush- work. Ts’ai Yung’s idea of meditation and contemplation for the utmost accomplishment in art is influenced by the Taoist teachings. According to Chang Yen-Yuan of the Tang Period, Ts’ai was the one, who originated Chinese calligraphy as an art and taught it to his daughter Wen Chi. Thereafter, it was passed on to many teacher- pupil generations. In the seventh century, Yu Shih-nan expanded the Taoist philosophy on calligraphy. According to him, “Calligraphy contains the essence of art. The action of moving the brush follows the principle of wu-wei (non-assertion). Based upon the idea of Yin and Yang (non-action and action), the brush moves and stops” (qtd.in Chang 261).
Harmony of Yin and Yang form the basis of Taoist philosophy.According to Tao percept Yin and Yang (qi) is the foundation of life and keeps it moving. Ying and Yang symbolise that dualities in nature are complimentary to each other.Chinese calligraphy highlights qi in all its strokes and characters that makes the piece of calligraphy vigorous and sprightly. Taoism stresses that a calligrapher requires having qi from the beginning till the execution of the work.
The famous artist XieHo established a new concept of extending qi into qiyun that referred to the rhythmic and lively motion of qi. The theory of qiyun was basically meant for the art of painting, however, it has a significant influence on Chinese calligraphy. The excellence of the calligraphic work is attained by moving one’s mind into the state of tranquillity or xukong. This typical Taoist percept emphasises that the state of tranquillity can be achieved by withdrawing oneself from the worldly affairs (Wu and Murphy, 321).
Chinese philosophy asserts that the calligraphist or any other artist could attain the utmost level of accomplishment through transformation of the mind. According to Yu Shih-nan, “The art of calligraphy is mystical and subtle. It bases itself on the spiritual infusion, not upon artificial exertions. It requires the enlightenment of one’s mind but not sense perception” (qtd.in Chang 261).
Tao is the law of nature that guides the Chinese people to understand the philosophical and secret principles. Chinese writing or calligraphy represents Taoist aesthetic ideology while presenting the distinctive features of Chinese arts. According to Li, those features include, “high symbolism, simplicity, idealism, abstraction, and delicate refinement in cooperative harmony” (192).
Chinese calligraphy requires the calligrapher to establish coordination between his mind and body to implement the best style for presenting the subject. Thus, it benefits the calligrapher with vital mental workout. Li mentions that “A Chinese calligrapher has to sit upright, and has his elbow resting the desk with the arm, the wrist, and full five fingers acting in concert to control the movement of the brush. It is the most relaxing yet highly disciplined exercise, yielding benefits for one’s physical well-being” (194).
Calligraphy is helpful in the refinement of one’s personality. A calligrapher learns several personality traits like self-control, patience and perseverance through the practice of calligraphy. Chinese history provides evidences of Chinese calligraphers who have got benefitted with this art and lived long and vibrant lives. Chinese calligraphy has been a popular art that has not restricted to the Chinese borders. Many other countries of Southeast Asia such as Japan and Korea assimilated Chinese calligraphy into their cultures; however they established their own schools and styles in course of time.The west was also influenced by the sparkle of Chinese calligraphy.
Famous artists such as Picasso and Matisse acknowledged that they were highly impressed by Chinese calligraphy.Picasso went to the extent of saying that he would have grown into a calligrapher rather than a painter, had he initiated with the knowledge of Chinese calligraphy. Henri Matisse’s work also shows influences of Chinese calligraphy and strokes (Li 195).
Works Cited
Calligraphy. 2008. Web.
Chang, Chung-Yuan, Creativity and Taoism, London, UK: Jessica Kingsley Publishers. 2011. Print
Li,You-Sheng. A new interpretation of Chinese Taoist philosophy. Canada:Taoist Recovery Center. 2005. Print
Ren, Jessie 2003. History of Chinese Calligraphy. Web.
Tu Lingli, 2011, Learning Chinese calligraphy and understanding Chinese philosophy. Web.
Wu, Dingbo and Murphy, Patrick D. Handbook of Chinese popular culture. USA: Greenwoood Press. 1994. Print
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