Grand Valley Review
Volume 20 | Issue 1 Article 8
1-1-1999 Moral and Philosophical Implications of Chinese Calligraphy Peimin Ni Grand Valley State University
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Recommended Citation Ni, Peimin (1999) "Moral and Philosophical Implications of Chinese Calligraphy," Grand Valley Review: Vol. 20: Iss. 1, Article 8. Available at: http://scholarworks.gvsu.edu/gvr/vol20/iss1/8
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Moral and Philosophical Implications of Chinese Calligraphy
alligraphy is esteemed as an art univer sally. Good calligraphy adds beauty to the Cwords and enhances the impact that the words are able to bring to their readers. In East Asian countries such as China, calligraphy is tra ditionally respected as one of the most highly sophisticated forms of art. Peimin Ni is Associate Professor The reason that calligraphy can have such a ofPhilosophy. His research inter status in China is partly due to the fact that Chi ests include modern philosophy, nese written language is pictographic and Eastern philosophy, and meta ideographic, rather than alphabetic. In its primor physics of causation. dial form, Chinese written language consists of images that picture their referents or directly sig nify what they mean. That is different from most other languages that consist of alphabetic symbols that represent sounds, which in turn are used to refer to objects. The pictorial form allows much more room for the writer to render the written words artistically. The alphabet is limited, and An example of the earliest Chi once you begin writing, very soon the repetitive inscription. ness of letters is obvious. The number of characters in Chinese written language is in the thousands, ist to fully use her owr which provides much variation. Another impor ity. It is like dancing w tant factor is the tools that Chinese later invented with the trace of the mo for writing-soft brush and absorbent rice paper. of artwork. The strokes written by those tools can be thick or But what is more im thin, straight or cursive, smooth or rough, the Chinese calligraphy is b motion can be slow or quick, the ink can be dark and philosophical imp or light, wet or dry, the paper can be more or less moral and philosophic absorbent. In addition, the structure of the char immediately think ab01 acters and the structure of the whole piece of work phy work such as t can be balanced or out of balance, dull or lively, teachings, much like tl redundant or succinct-all those permits the art- ten in gothic letters an Chinese Calligraphy
wall. It is true that very often Chinese calligraphers like to l write moral and philosophical sayings, citations of Buddhist and Daoist scriptures or Confu- cian classics, but the moral and philosophical implications in Chinese calligraphy are more direct and more intrinsic. They are associated directly with im- ages, that is, the brush strokes and the way space is used, not ~emed as an art univer merely derived from the general raphy adds beauty to the meaning of the words. Just like nces the impact that the one does not necessarily need to to their readers. In East know Chinese in order to appre :hina, calligraphy is tra ciate the beauty of Chinese one of the most highly calligraphy, one does not have to ~t. understand the meaning of the ;raphy can have such a words in order to get into the I due to the fact that Chi moral and philosophical implica- 1 g e is pictographic and tions of the calligraphy. alphabetic. In its primor As the modern Neo-Confu :en language consists of cian philosopher Xu Fuguan referents or directly sig plausibly points out, the highest at is different from most aim of the Chinese aesthetic :ist of alphabetic symbols spirit and the highest aim of Chi 'hich in turn are used to nese philosophical traditions are torial form allows much the same: to achieve a state of ~r to render the written freedom in which the subject en tlphabet is limited, and An example of the earliest Chinese written language-bone joys a unity with the Other and very soon the repetitive inscription. is able to move around without fhe number of characters obstacle in his or her creative ac lage is in the thousands, ist to fully use her own imagination and creativ tivities as a form of self expression and the expression of triation. Another impor ity. It is like dancing with the soft brush and ink, the embodied Dao-the Heav Lt Chinese later invented with the trace of the motion left on paper as a piece nd absorbent rice paper. of artwork. enly nature in human (Xu, 1966). Lose tools can be thick or But what is more important in appreciation of Confucius has a famous say , smooth or rough, the Chinese calligraphy is to understand its rich moral ing regarding arts: "you yu yi" 1ick, the ink can be dark and philosophical implications. Speaking about (Analects, 7:6). Wing-Tsit Chan ,aper can be more or less moral and philosophical implications, one might translates it as "Find recreation 1e structure of the char immediately think about the content of a calligra in the arts" (Chan, 31). Here the word rendered "recreation" is f the whole piece of work phy work such as moral or philosophical f balance, dull or lively, teachings, much like the biblical messages writ "you," the same word that the tll those permits the art- ten in gothic letters and framed, hanging on the Daoist Zhuangzi used in his by PeiminNi
"Xiaoyao You," where it is typi preceded directly by "Set your will on the Way. phisticated that how muc cally translated as "wandering." Have a firm grasp on virtue. Rely on humanity." ate it is dependant on t Both translations, "recreation" (Analects, 7:6) The word "you," in this context, moral and intellectual tr and "wandering," are insuffi means a state of freedom achieved by the under the concepts employed in cient and can be misleading. standing of the Dao, the determination to follow ligraphy would be suffici "You" means much more than the Dao, and through a long time practice one is includes qing [mood, err recreation or wandering. When able to participate the Dao effortlessly and cre force], shen [spirit], jing [r Confucius talks about arts, he atively. A decent handwriting, if one can write at egance ], fa [discipline], yi meant broadly arts and skills, in all, is considered by the Confucians part of being [style], qidu [manner], etc. cluding rituals, music, archery, a decent human being. Just like an educated per so many categories for ib riding, calligraphy and math son is supposed to know how to talk in a proper From this kind of unde ematics-the six arts that manner, an educated person is supposed to be able scholar Zhang Huaiguan constitute the basis of his entire to write in a decent style. It is not only a matter of calligraphy "is no other liberal education program. respecting what you write, whom you are writ great Dao" (Liu Ti Shu L Confucius takes those six arts as ing for or writing to, and of respecting the Confucian Zhu Changw• much richer and more important writer-yourself, but also a matter of achieving a ligraphy reaches its h than how we nowadays under unity between a person and her heavenly be wonderfulness of it joins 1 stand recreation. Confucius says, stowed nature, both in terms of what kind of Dao." (Xu Shu Duan) for instance, "[be] established by person she should be and what kind of person she Of course Confucians, the rules of propriety, and per is artistically capable of being. all have different underst fected by music" (Analects, 8:8, Similar analysis applies to Daoism as well. As the differences show in th Chan, 33). Here music and ritual pointed out by Xu Fuguan, the "Xiaoyao You" in calligraphy. play important role in the trans Zhuangzi is also simultaneously a state of artistic For the Confucians th formation of a person. life and a state of being one with the Dao (Xu, 1966). ous and the morally v "Wandering" is a better transla When Cook Ding in Chuangzi' s story cut an ox, courteous, upright, wise, I tion for "you," yet it is still he did it with a perfect rhythm, effortlessly, as if the golden mean-centr insufficient in explicating the he was dancing and celebrating. In his perfor Those characteristics of meaning of "you." A dictionary mance, there was no opposition between himself determines the Confuciar that most of our college students and the ox, and no opposition between his will Calligraphy works by C nowadays rely on for precise and his hands (his skills). In his eyes there was no that the strokes are solid,· meaning of English words de ox standing in front of him as an "other," and he ing out, indicating fines the word "wander" to be was able to "go at it by the spirit" without look self-embodiment and no "to move about without a fixed ing with his eyes. "Perception and understanding or to show off. The tip of course, aim, or goal," "to go idly have come to a stop and spirit moves where it at the middle of the stro1 about," "to deviate," or even "to wants." (Zhuangzi, 46-7) This is a good example righteousness and centn go astray morally" (Merriam of being one with the Dao, but not as good an ex ment method leads to thl Webster's Collegiate Dictionary). ample of the exertion of artistic creativity as the brush are such that VI However, in Confucianism, the calligraphy. Compared to calligraphy, cutting an look strong but not swo word" you" means creative activ ox is much more a matter of skill than a matter of not thick, they still appeal ity in which one is able to" follow artistic creation. Though both cutting an ox at confidence, no weaknes~ the heart's will without overstep Cook Ding's perfection and good calligraphy re ness, nor spiky. The st ping or transgressing the line quire being one with the Dao, the latter is more a gentleman with a broad (moral principles)." (Analects, participation with the Dao in creation, and the cre derstands, cares, and mea 2:4) This is clear from the fact that ation shows the artist's own cultivated nature. The and firmness on princip the above quoted "you yu yi" is aesthetics of Chinese calligraphy is indeed so so- of the brush is preceded l Chinese Calligraphy
Set your will on the Way. phisticated that how much one is able to appreci preparation, and every down rirtue. Rely on humanity." ate it is dependant on the depth of one's own ward line is completed by a 1rd "you," in this context, moral and intellectual training. A partial list of slight withdraw of the tip of the lm achieved by the under the concepts employed in evaluating Chinese cal brush. The effect of the strokes Le determination to follow ligraphy would be sufficient to show the point: It will be that they all appear with 1 long time practice one is includes qing [mood, emotion], qi [energy, vital a proper manner, yielding, po Dao effortlessly and ere force], shen [spirit], jing [realm, standing], yun [el lite, gentle, with dignity. The writing, if one can write at egance ],fa [discipline], yi [expressiveness ],fengge structures of the characters are ~ Confucians part of being [style], qidu [manner], etc. Ox cutting hardly needs usually stable, solid, indicating Just like an educated per so many categories for its evaluation. their firm stand on righteous •w how to talk in a proper From this kind of understanding, Tang Dynasty ness. They may look a little off ·rson is supposed to be able scholar Zhang Huaiguan said that the practice of the proper balance individually, e. It is not only a matter of calligraphy "is no other than the practice of the but that is because they are yield 'rite, whom you are writ great Dao" (Liu Ti Shu Lun), and Song Dynasty ing to each other, so that when ' and of respecting the Confucian Zhu Changwen said that "When cal you look at the whole picture 'so a matter of achieving a ligraphy reaches its highest perfection, the formed by many words, you find m and her heavenly be wonderfulness of it joins the wonderfulness of the a balance of the whole. This is n terms of what kind of Dao." (Xu Shu Duan) perfectly in accord with the Con 1d what kind of person she Of course Confucians, Daoists, and Buddhists fucian principle of propriety, :being. all have different understandings of the Dao, and according to which individuals lies to Daoism as well. As the differences show in their aesthetic tastes about must behave in ways that fit their uan, the "Xiaoyao You" in calligraphy. roles defined by one's social po 121 meously a state of artistic For the Confucians the Dao is morally virtu sition and relationship with ne with the Dao (Xu, 1966). ous and the morally virtuous is benevolent, others, and fit the particular cir mangzi' s story cut an ox, courteous, upright, wise, trustworthy, and follows cumstances. rhythm, effortlessly, as if the golden mean-centrality and commonality. The best example of Confu ~lebrating. In his perfor Those characteristics of the Confucian morality cian calligraphy is Yan position between himself determines the Confucian taste about calligraphy. Zhenqing' s. Yan was a devoted Josition between his will Calligraphy works by Confucians are typically ). In his eyes there was no that the strokes are solid, with no sharp ends stick 1im as an "other," and he ing out, indicating their fullness in the spirit" without look self-embodiment and no intention to prick others ·ption and understanding or to show off. The tip of the brush moves always 1d spirit moves where it at the middle of the strokes, indicating a sense of ')This is a good example righteousness and centrality. Such brush move w, but not as good an ex ment method leads to the effect that the marks of of artistic creativity as the brush are such that when they are thick, they to calligraphy, cutting an look strong but not swollen, and when they are ·r of skill than a matter of not thick, they still appear with inner strength and ;h both cutting an ox at confidence, no weakness or any sign of fearful md good calligraphy re ness, nor spiky. The strokes look like a kind , Dao, the latter is more a gentleman with a broad mind who tolerates, un o in creation, and the cre derstands, cares, and meanwhile, is full of strength Nn cultivated nature. The and firmness on principle. Every forward move ligraphy is indeed so so- of the brush is preceded by a backward move as a PeiminNi
handedly entered the enemy camp to persuade day are imitations the rebellions to surrender. Eventually, when raphers. The work given the choice between either to join the rebel a pleasant gatherin lions or die, he chose death with no hesitation. lectuals at a sceneiJ Yan's calligraphy displays his Confucian charac around and mount ters very well. Fully embodied with moral gentle breeze. In a strength, they are strong, vigorous, but not reck some wine in his sl less or robust, they are gentle and reserved but flowed out of Wan not inhibited or noncommittal. ideal state of bein~ The Daoist takes the Dao to be what is natural. Daoist goal. Wang They value simplicity and spontaneity. "Doing by it so well if he we1 not-doing" is probably the best way to express the of creating the woi Yan Zhengsings work shows Confucian Daoist ideal in practice-It is a state in which one in calligraphy for characters. is able to do things naturally and spontaneously, There were correcti with no effort and no arbitrary complication. The on the side of a lint official in the Tang dynasty who Daoist looks for being simple but not self-denial, a block of ink. All served the emperor and the lively but not bustling, and transcendent but not tions because takin: country wholeheartedly. On the otherworldly. When such principles are applied natural beauty of th post of being a governor of Ping in calligraphy, they show preference for less over ralness is clearly a Yuan, he implemented policies more, lighter over darker, innocent over articu the Confucian stan• that benefited the people. When late, simple over complicate. They like the motion ciplined training . confronting military rebellion, of the brush to be as natural as water sliding down he showed great courage in from a leaking wall or a stick drawing on sand leading an army to defeat the re the strokes like that have no arbitrary smoothness, bellion, and even single and they never appear to be running out of en ergy. A good example of Daoist calligraphy is Shimen Song. It is an inscription on rocks, dated back in the Han Dynasty. "The motion of the brush [dis played in Shimen Song] is like wild crane and gull in leisure, fleecing like immortals," says the Qing Dynasty scholar Yang Shoujing (Yang, Ping Bei Ji). The strokes look extremely simple and plain, un adorned, almost naive, yet the inner strength and elegance is beyond description. They look re served, yet everywhere the brush goes it goes with full energy and ease. A masterpiece of calligraphy that displays both Confucian discipline and also a strong Daoist aroma is LanTing Xu, written by Wang Xizhi in 353 A.D. The work has been almost unanimously considered the number-one masterpiece in cal ligraphy. The original work is lost, allegedly taken to grave by Emperor Tang Taizhong, as Ian Ting Xu, the "number Shimen Song, an example of Daoist the Emperor loved it so much. What we see to- WangXizhi. calligraphy. Chinese Calligraphy
:tmp to persuade day are imitations made by Tang Dynasty callig whether a line, a dot, or a turn, ventually, when raphers. The work was a draft of an article about follows the proper "li" (ritual) to join the rebel a pleasant gathering together of a group of intel so that it starts and ends with a .th no hesitation. lectuals at a scenery spot, with bamboo and water manner, and the strokes all yield :onfucian charac around and mountains and blue sky bathed in a to each other and resonate with ied with moral gentle breeze. In a very relaxed mood, and with each other to form a harmoni ms, but not reck some wine in his stomach, the calligraphy freely ous whole. md reserved but flowed out of Wang Xizhi's hand, displaying an The Buddhist takes the Dao ideal state of being and acting according to the to be "nothingness." According e what is natural. Daoist goal. Wang himself could not have done to Buddhism, reality does not meity. "Doing by it so well if he were doing it with the intention consist of "things" . . . all our ray to express the of creating the world's number-one masterpiece sufferings come from craving for tate in which one in calligraphy for thousands of years to come. things that do not exist. We crave j spontaneously, There were corrections to the text, words added for staying young, but there is no omplication. The on the side of a line, words that were deleted by eternal youth. We crave forma tt not self-denial, a block of ink. All these were kept in the imita terial possessions, but no one can scendent but not tions because taking them away would affect the keep them forever. Once we un [ples are applied natural beauty of the work. Meanwhile, the natu derstand this "nothingness," and ~nee for less over ralness is clearly a cultivated one according to are able to live a non-attached :ent over articu the Confucian standard. It displays years of dis life, we can be free from suffer- y like the motion ciplined training and practice. Every stroke, 1 ing. There are many ways this 2 tter sliding down kind of philosophy can be re 3 1wing on sand flected in calligraphy. One clear rary smoothness, example is Li Shutong's case. Li' s l:. ~ ~') ~~ 1 ~ I *-:ffitj nning out of en- .N calligraphy was very handsome ! ~ ·~ ,J~ ~"' t j)j before he became a Buddhist graphy is Shimen u monk, just like his own physical :s, dated back in appearance. He was extremely ,f the brush [dis A ::- ~ l ~ ~ ~ -lf ~ I talented, capable of being a fa ld crane and gull mous writer, actor, calligrapher, ;,"says the Qing J! , painter, and musician all at the ~~ ~ Jf~i ;1.~ ...JA.~ '~\ ·fnc,;;l~$--.m - ~ {ang, Ping Bei Ji). i4 ~ ~ Jfl ~4-f' ~ J.O ' - le and plain, un ..4.- ~ ~ ~ 1 ~ ~~ fi" ner strength and t'jj ~ A~ • .(· .ln3 / f?; . ; ~ ~~ J!'.:~r . They look re goes it goes with ~ tJ, :;- ~ ~ -k~/~~t u.· 1at displays both . )j. ' ·· . );,. .J. 1 strong Daoist ~~ 4J- *. ~~tL. vt~ Jft~';~ ~ ~ )fl'~ ~ r Wang Xizhi in >st unanimously ~l ~ ~~ ~ ~~ ~ ~ ~ , ~ r~ ;terpiece in cal- 1i<- lost, allegedly ~Vf 1~ ~ iR~' 1 ~ ~ tg Taizhong, as Ian Ting Xu, the "number one masterpiece" in calligraphy, by Vhat we see to- Wang Xi zhi. PeiminNi
same time. At a young age (38, 1918), when his fame was at the peak, to most people's surprise he renounced his earthly life and became a devoted Buddhist "ll... monk. Since then he was known \ as Hong Yi Fashi, and his callig ~ ~ raphy also went through a f dramatic transformation. It be ~~ came less "pretty," less elegant, -.? - ~ and less appealing to the popu J lar eyes. It obtained a chilly '~ coldness and simplicity, indicat ing disinterest in earthly affairs. ~ There are more blank spaces on the works. The characters dis play little variation, and the strokes move with such a calm ness that there is absolutely no ·~,, i anxiety. What is shocking in Ii shutong's early work, before he became a Buddhist monk. '
those works is that they are done by such a tal .,., .. ~ ..... _,- ented master, and yet they look so easy going '"" ~., and so "ordinary." ·..S ·~ Of course Buddhist philosophy does not have b to appear in calligraphy in this particular way. Mi Fu, Shu Shi and Huang Tingjinan were all influ 3 <# - J.. :. ~ I,_ ::; enced by Buddhism, yet they had different 'f ;, calligraphy styles. Mi's style is more relaxed, ex z1b ;_ pressive and forthright, Su' s style enbodies more ; It :y t depth, and Huang's style displays vigor and free :~t dom (See Wang, 9). )~ f~ 1\. ~ hat I said above shows how calligraphy is " , I W affected by the calligrapher's philosophy. & J!f u ' Yet the causal relation is bi-directional-calligra :1 phy as a practice also affects the person morally and philosophically. ~ M. By following the examples of master calligra - .t phers, one learns not only their skills, but also their ~ moral characters and their philosophy! By learn ing from Yan Zhenqing, for example, one will be Ii Shu tong's later work, after he became a Zhao Mengfu's writil affected by his strength, his uprightness, his Buddhist monk. follow. broadness in mind. Learning from Shimen Song, Chinese Calligraphy
~ f r I on the other hand, increases it ~ '~ ~ - ·~ one's ability in appreciating sim- ~ ' - plicity and naturalness. ~ "11. ~ · ~ ~ f:.;. Therefore, sel:ct~ng ':"hich an- I "' · \.> . I cient master to urn tate IS a matter ~ ~ of selecting which philosophy • .._,.... ·t ._ and moral example you want to 1~~ follow. People generally advise ~~ ~ ~ ~ not to select Zhao Mengfu for be- ... ~ ~ ~~ ginners, that is because his l ~ · · calligraphy is too "pretty." ~ ~{j} ~ People will be attracted by the ~ pretty appearance and overlook ~ "'- i ~ -> the search for internal strength, ~ ~ discipline, naturalness, transcen- )~ "' dence, etc., and easily slip into an evasive, superficial charm • ~ . ' to the models. Then incidentally phy therefore naturally requires the practitioner he got a piece of Zhao Mengfu' s to be confident and yet modest, calm and yet calligraphy, and he loved its full of energy. The practice also helps a person to smooth curves and flowery learn the benefit of discipline. The disciplines in charm, so he practiced after it. calligraphy are not arbitrary rules. They reflect Only after a few times, he was some natural laws that govern motion and life. able to write in a way almost in For instance the aforementioned principle that distinguishable from Zhao's "let every forward move be preceded by a back model. He said: "That is no dif ward move as a preparation, and every ferent from learning how to be downward line be completed by a slight with a person-when you look after draw of the tip of the brush." That is just like in the models of the morally exem order to jump, one needs to bent down first; in plary persons, you feel that it is order to regain balance after running downhill, as hard to be close to them as one has to lean backward a little. Those are rules for a curve to fit a straight line; one has to learn in the beginning in order to be yet when you go out with gang come a master whose brush can dance gracefully sters, you will feel that you are and with strong energy that will not easily run closer to them day after day, and out. very soon you will be no differ The final aim of this kind of learning is to reach ent from them." "Zhao did a state of freedom where one no longer stands in practice after the model of Wang opposition to the non-self. A person well culti Xizhi, yet only because his way vated through calligraphy should have the of scholarship is not righteous, he confidence, calmness, moral uprightness and swerved to the way of squishy courteousness all embodied in the person as her to get into power, and W glamour." second nature. When this person is in her callig . the head of the "Gang of F There are some other factors raphy creativity, she will be truly "with herself" trous "Cultural Revoluti01 that make the process of practic when she forgets the self and when she creates some morally exemplary ing calligraphy a process of the non -self. nary handwriting. Confuc moral education and transforma for his calligraphy, nor wt tion. Wu Yuru says, "Practicing hat I tried to show above is that (1) the other moral sages. calligraphy can help the person highest aim of calligraphy, according to the W One way to explain tho to be calm, and through that, Chinese tradition, is to participate the Dao in ar proposed by Su Shi. Su d make the energy full and the tistic creation; (2) philosophical views and moral ness of calligraphy fl spirit complete. Even a little characters influence one's calligraphy; and that appearance. According to haste will turn the motion of the (3) practice in calligraphy helps practitioners in no training in calligraphy brush and the ink entirely dif building their moral characters and in the for ing a neat piece of calli ferent" (See Yang, 4). Strokes mation of their philosophical positions. However, handwriting can be vet cannot be corrected once they we must not over-simplify the relationship be- ' coarse; yet somewhat like are drawn on rice paper. Any tween moral characters and calligraphy. In the son can be used to clone correction to the strokes will Chinese history quite a few noutorious "bad contains all the genetic i1 only make them worse. To the people" were able to write beautiful calligraphy, son, a calligraphy we sensitive eyes, even the slight for example, Qin Kui, the Southern Song Dynasty , philosophical and moral cc est anxiety or hesitation or the prime minister, who murdered national hero Yue ' son in it. Whether this per: intention to impress others will Fei, Cai Jing (his calligraphy appears above), also show up in the work. Calligra- a Song Dynasty official, who would do anything Chinese Calligraphy s the practitioner st, calm and yet helps a person to 'r~ .. 'f;f:~J·i~ .·~. ~he disciplines in Iles. They reflect .. ~~ .·· 1t , ,~r 1f-t· motion and life. ~d principle that ceded by a back ._Jk ' t~ ~t -i'~ on, and every Jy a slight with .,J;: :·, hat is just like in -·... ,_ ."-- W~ •:·. ~·: '.. . .'a ~· JJ - nt down first; in tnning downhill, ·~~ · ~ .· 4'- 7': ·· ~ · !. Those are rules .g in order to be dance gracefully it .t:1! tz . ~ Jl not easily run :u-ning is to reach . U...i , ~ ~ . ~~ longer stands in erson well culti 127 .ould have the A calligraphy work by a notoriously "bad person"-Cai ]ing. tprightness and he person as her to get into power, and Mao's wife Jiang Qing, 1 is in her callig the head of the "Gang of Four" during the disas y "with herself" trous "Cultural Revolution." On the other hand, vhen she creates some morally exemplary people had just ordi nary handwriting. Confucius was never known for his calligraphy, nor were Mencius and many e is that (1) the according to the other moral sages. One way to explain those counter-examples is te the Dao in ar- proposed by Su Shi. Su differentiates the good 1iews and moral ;raphy; and that ness of calligraphy from mere groomed appearance. According to Su, a person who has practitioners in no training in calligraphy has little skill in writ and in the for ing a neat piece of calligraphy work, so the itions. However, handwriting can be very undisciplined and relationship be coarse; yet somewhat like how any cell in a per ligraphy. In the son can be used to clone the person because it outorious "bad contains all the genetic information of the per iful calligraphy, son, a calligraphy work contains all the ·n Song Dynasty philosophical and moral commitments of the per :ttional hero Yue son in it. Whether this person is honest, innocent, ~ars above), also uld do anything PeiminNi or righteous, can still show up egance, and will not be flunkey. Another is to in the way she writes the have rich knowledge. When you have knowledge strokes. "A man without a righ about thousands of things in your mind, the "qi teous mind will inevitably show of the volumes will naturally fill between the in his calligraphy some sign of lines" (See Gu, 42). Furthermore, it seems that, obsequiousness or cruelty" (Su, while one's moral qualities do affect one's callig Ba Qian fun Yi Shu Yi Jiao Jing. raphy, they do not necessarily show up in every The same statement is also seen stroke, and even if they do they are not often in his Shu Tangshi Liujia Shu discernible. There is a tremendous room for sub Hou). jective interpretation and even empathic Su' s view quoted above was projection. simply be neat and not] developed from a broader view Su was in fact aware of the possibility of sub need to make more caref which was first clearly stated by jective projection. This awareness shows ent ways in which diffen Zhang Huaiguan and later by strangely in a statement that is entirely opposite calligraphy. For instance Liu Gongquan. Zhang says: "It to what we quoted from him above. He says in show up more easily inc takes several words for an article that statement, "When one looks at a calligra of care for the value of to convey an idea, it takes only phy, some people think that one can get much good ambition rna: one character for a calligraphy to information about the person. If that were the ligraphy from one who I display a heart-mind" (Wenzi case, whether the person is a gentleman or a Mao Zedong' s calligrap Lun). When Liu was asked by petty-minded person would surely be displayed good example. Mao, the emperor Mu Zong about the in the calligraphy. But that is not the case. One of the Chinese communi~ way to move the brush, he an cannot even judge a person from one's outlook, master in calligraphy. His swered "When the heart-mind how can one judge a person from calligraphy? remarkably well his bro; is right, the brush will be right." Sure, when I look at Lu Gong's [Yan Zhenqing] courage. They show littl But we must be careful here calligraphy, I would indeed not only see his per he cared for life, friends] to observe that the state of the sonality, I would even imagine his graceful SimilarI y, in the exa1 heart-mind contains more than demeanor, as if I were seeing him censure Lu Qi page, it is hard to imagir just moral qualities. It contains and condemn Xi Lie. Why? The reason is the same courage, confidence, and many other aspects of the mind as Han Fei Zi' s story about a man lost his ax." this piece, and yet it is al: such as personality, mood, etc. (Ba Lu Gong Tie). In that story from Han Fei Zi, a how just this person is f1 Bai Jiao calls the sum total of the man who lost his ax suspected that his neighbor Su has a third view th state of the mind" essence of cal stole it. His neighbor's behaviors looked like a tion. He says that "Th ligraphy," which include mood, thief's in his eyes. However, after he found his calligraphy in ancient tir personality, spiritual under ax, his neighbor's behaviors all looked perfectly rap hers' life as well; if thE standing, and aesthetic taste. normal. There was no difference in the neighbor's the calligraphy would n Late Qing scholar Yang Shoujing behaviors. The difference was entirely subjective either." (Shu Tangshi Li (1839-1915) adds two points to projection. words, moral standard i~ the three points (genius, seeing This view, as it is too extreme, finds little echo dards in judging the goo a lot of good works, and dili in the history. It is as implausible to argue that groomed piece of work n gent practice) made by another moral quality of the person has nothing to do with the eyes but still has no • about what is the key to learn calligraphy as to argue that every stroke in callig somewhat ambiguous be ing calligraphy: one is to have a raphy shows moral quality of the person. The fact interpretations. The first supreme moral quality. When is more likely that though some calligraphy works dard is different from ae one's moral quality is superior can be evaluated in terms of moral qualities, some person is immoral, his c one's brush moves with el- cannot. When one writes like print, the work may no value regardless of t Chinese Calligraphy ~y. Another is to 1 have knowledge Jur mind, the "qi ttj[ ~ ·L~~-fjtJUH t1;1~ + t:t i1tJ fill between the re, it seems that, %t~n\ "}r .. ~ ~ i~ j, k?"~~~~ 1f ~,.u ~1 !~ tffect one's callig 1 . ~ .{ -f-f :t , * 1i ~·~ JtJQJf 1A ,/.t ;how up in every t -· · ,'f {A¥~ :!z0l .fir~~~ t! .lf,h ~~;4 ~ ey are not often JUS room for sub Calligraphy by Mao, the Chinese even empathic communist leader. simply be neat and nothing else. We may also •ossibility of sub need to make more careful analysis about differ areness shows ent ways in which different moral qualities affect entirely opposite calligraphy. For instance, petty-mindedness will bove. He says in show up more easily in calligraphy than the lack 1ks at a calligra- of care for the value of life, and one who has 3.t one can get much good ambition may not differ much in cal If that were the ligraphy from one who has much evil ambition. gentleman or a Mao Zedong's calligraphy (shown above) is a ·ely be displayed good example. Mao, the most influential leader .ot the case. One of the Chinese communist movement, was also a m one's outlook, master in calligraphy. His calligraphy works show 129 om calligraphy? remarkably well his broadness in ambition and [Y an Zhenqing] courage. They show little, however, how much only see his per he cared for life, friendship, and love. ne his graceful Similarly, in the example on the following m censure Lu Qi page, it is hard to imagine that a person with no ~ason is the same courage, confidence, and determination can write 1an lost his ax." this piece, and yet it is also hard to judge exactly )ill Han Fei Zi, a how just this person is from this piece of work. hat his neighbor Su has a third view that deserves some atten rs looked like a tion. He says that "Those who comment on :er he found his calligraphy in ancient times comment on callig looked perfectly raphers' life as well; if the person was not decent, n the neighbor's the calligraphy would not be taken as valuable ttirely subjective either." (Shu Tangshi Liujia Shu Hou) In other words, moral standard is superior to other stan finds little echo dards in judging the goodness of calligraphy. A le to argue that groomed piece of work may appear attractive to •tlting to do with the eyes but still has no real value. This point is stroke in callig somewhat ambiguous between two more precise person. The fact interpretations. The first one is that moral stan lligraphy works dard is different from aesthetic standards. If the l qualities, some person is immoral, his calligraphy works have _t, the work may no value regardless of their aesthetic achieve- PeiminNi ments. This view was supported Bibliography by Huang Ting Jian, a contem Chan, Wing-tsit. J porary of Su. Indeed, the bad University Pres guys are hardly mentioned in the Confucius. 1986, I history of calligraphy. Cai Jing Ju. was originally one of the "Four Cong Wenjun. 19~ Great Masters in Northern Song Yingyong" ["'( Dynasty." But his name was in Traditional C later replaced by another Cai Fu Shan. "Zuo Zi ~ Cai Xiang, because Cai Jing had children]. In Sh a stinky moral reputation. In On Gu Hong. 1997, "' Calligraphy, Huang writes: "In Thoughts on C. learning calligraphy one should Huang Tingjian, I keep the Dao and Righteousness SuShi. "Ba Qian J in mind, and broaden the self by of the Script of l the teachings of the sages. Only Zhonghua Shu then the calligraphy will be valu "Shu Tangshi Liuj able. If your spirituality had no Calligraphers]. discipline, even if you were able 2206. to use you brush and ink no less "Ba Lugong Tie" [ skillful than Yuanchang and Wang, Xiaoxian. J Yishao, you would still be a vul the Trend of U] gar." (Lun Shu) Shangping [Apr The other interpretation is Xu, Fuguan. 1966, that moral standard is the high Zhongyang Sh1 est one among aesthetic Yang, Luan: 1998, standards. A calligraphy work without Polish that lacks moral goodness in it A couplet by X ion Renwang. Zhang Huai Guar has a fatal defect in it aestheti -. Wenzi Lun. [On cally. This interpretation, Zhu Changwen. ). whether accurate in stating subject and the object, the "heaven" and the "hu what was truly in Su' s mind or man." In that state, one is able to express one's Zhuangzi.1964, C not, is more consistent with the own heavenly nature in one's own creative ac Columbia Uni' traditional Chinese aesthetic tivity, and fully enjoy the union. The union spirit. In the Chinese intellectual between what is heavenly and what is human tradition, aesthetics is never will show up in the calligraphy works with moral sharply separated from moral characters, and the display of superior moral ity. The highest aim of both is qualities is itself aesthetically attractive, and one and the same-a state of therefore deserves the respect as one of the (if freedom, in which there is no not the) highest criteria of aesthetic value. ~ more separation between the Chinese Calligraphy Bibliography Chan, Wing-tsit. 1963, A Source Book in Chinese Philosophy, Princeton, N.J.: Princeton University Press. Confucius. 1986, Lun Yu [The Analects], in Zhu Zi Ji Cheng, vol. 1, Shanghai: Shanghai Shu Ju. Cong Wenjun. 1996, "'Zi Ru Qi Ren' yu Chuantong Shufa Piping 'Lunli Tuichan Fa' de ~! Yingyong" ["'Calligraphy like the calligrapher' and the 'Method of Ethical Inference' '1/ in Traditional Critics of Calligraphy"]. Shufa [Calligraphy], 96.5., 2-3. -#1 Fu Shan." Zuo Zi ShiEr Sun" [Calligraphy Written to Illustrate to Children and Grand ~ children]. In Shuang Hong KanJi, [Collected Works of the Shuang Hong Kan]. Jt. '{ Gu Hong. 1997, "Yang Shoujing Shufa Sixiang Guankui" [A Peek on Yang Shoujing's ~ Thoughts on Calligraphy]. Shufa [Calligraphy], 97, 4, 41-43. Huang Tingjian, Lun Shu [On Calligraphy] SuShi. "Ba Qian Jun Yi Shu Yi Jiao Jing" [Postscript to Mr. Qian Yi' s Handwritten Copy J~~ of the Script of Posthumous Advise]. Su Shi Wen Ji [Collected Works of Su Shi], Beijing: 1!~ p Zhonghua Shuju, 1969, 2186. t\ "Shu Tangshi Liujia Shu Hou" [Postscript to Mr. Tang's Collection of Works by Six ~, ~ Calligraphers]. SuShi Wen Ji [Collected Works ofSu Shi], Beijing: Zhonghua Shuju, 1969, 2206. L'f:.t~ "Ba Lugong Tie" [Postscript to Lu Gong's Model Calligraphy]. ~ Wang, Xiaoxian. 1996, "Qian Lun Chanzong yu Bei Song Shang Yi Sichao" [On Zen and ;> 131 the Trend of Upholding Expressiveness in the Northern Song Dynasty]. Shufa ,,l Shangping [Appraisal and Critic of Calligraphy], 96.4, 8-11. Xu, Fuguan. 1966, Zhongguo Yishu Jingshen [The Chinese Aesthetic Spirit]. Taiwan: ~~ Zhongyang Shuju. Yang, Luan: 1998, "Tianran Qu Diaoshi-Shufa Yishu Chuangxin Chuyi" [All Natural without Polish-On Creativity in the Art of Calligraphy]. Shufa [Calligraphy], 1998,6. Zhang Huai Guan. Liu Ti Shu Lun [On Six Styles of Calligraphy] -. Wenzi Lun. [On Written Language]. tven" and the "hu Zhu Changwen. Xu Shu Duan [Continuation to Judgement on Calligraphy] le to express one's Zhuangzi. 1964, Chuang Tzu, Basic Writings, translated by Burton Watson, New York: :; own creative ac Columbia Univ. Press. Inion. The union td what is human 'works with moral Jf superior moral ly attractive, and t as one of the (if :hetic value. roG\1