Chinese Social Sciences Today Culture 8 THURSDAY JUNE 18 2020 A lingering taste of Chinese calligraphy CHINESE WISDOM By JI SHAOYU message of Nature. These works are when calligraphers talk about how tician Kang Youwei (1858–1927) in nothing but dross. One can easily the second stroke of 力 (li, strength) Guang Yi Zhou Shuang Ji. Works of calligraphy are often know how they taste. Any piece of should be written like a crossbow When Kang mentioned “flavor” seen as an analogy for the works of work that is not created by heart is that is tightly pulled back, they he was emphasizing the need for nature. As calligrapher Wei Heng doomed to lack spirit.” are stressing the use of Shi, or the calligraphy to be a fusion of multiple (?–291) described it, “Strong and Without “spirit,” a work of cal- strength of calligraphy. elements. Calligraphy continues to vigorously the brush goes, like a ligraphy has no inner beauty, which enrich itself by drawing from vari- dragon rising from a deep river. makes its pretty form meaningless. State of mind ous sources. Take the calligraphy Book High above it falls, like raindrops However skillful a calligrapher is, A masterpiece can only be cre- works created during the Wei Dy- falling from the sky.” without enough emotional depth ated when the calligrapher puts his/ nasty (220–266) and Jin Dynasty Calligraphy is also often linked to and cultural instinct, one can only her real emotions into the work. (266–420) for example, they are one’s own senses of taste, smell, hear- come up with a shallow piece of As Zhao Gou (1107–87, Emperor expressive and artistic because dif- ing and touch. “Taste,” in particular, work. In a masterpiece, the two ele- Gaozong of the Song Dynasty) ferent styles of calligraphy had ma- This character usually refers to a can be used to describe all kinds of ments are not simply added up, but wrote in his Hanmo Zhi (Treatise tured and interacted at the time. book, a document or a letter. As a philosophies, ideas or styles in callig- work as an organic whole. The work on Brush and Ink): “Studying Wang Apart from styles, the importance verb, shu means to write. raphy. After the Six Dynasties period is the natural outburst of a calligra- Xizhi’s work is like eating olives. Not of fusion is also shown in the pro- (222–589), articles and calligraphic pher’s emotions and ideas. Although so sweet at first, its flavor intensifies cess of creation. Calligraphers must 临池学书 池水尽墨 works had begun to be judged based its form can be imitated by others, as it lingers on.” infuse their personalities and styles lín chí xué shū chí shuǐ jìn mò on their various “tastes.” the spirit within it can never be the In Shufa Yayan (Talking about into their work, which should also Lin means “close to” and chi refers A calligraphic work is not only same. However, the spirit doesn’t the Calligraphy), calligrapher Xiang be the mixture of both force and to a pond. Xue means “to study.” the result of its creator’s technical come easily. After all, calligraphy is Mu (1605–1691) of the Qing Dynas- flexibility, sturdy structure and a full Shui is “water.” Jin means “all” and skill and talent, but also a carrier not painting. ty stressed impartiality when appre- figure. In addition, to avoid weak- mo is “ink.” “Lin chi”, meaning “close of Chinese wisdom, for it is rooted ciating calligraphy: “With his moral ness, critics specially stressed that to the pond,” is a metaphor for prac- root in Chinese tradition. Its philo- Force disposition and righteousness, Con- “masculinity” and “feminity” should ticing calligraphy. sophical beauty is beyond words Qi shi (force) is the momentum, fucius possessed the temperament be complementary. This term originated from Si Ti and can only be felt; by echoing or or dynamic tendency brought about to be impartial. If one is able to fully Shu Shi (Dynamics of the Four dodging one another, the dots and by a calligrapher’s fingers, wrist ‘taste’ Confucius’ principles and ap- Way of nature Scripts), an important theoretical lines embody the dialectic; by art- and arm. The calligrapher can only ply them to the way he/she views We can even “taste” how much a work on calligraphy created by Wei fully arranging the density among work in concert with the directional others and learns calligraphy, his/ calligrapher understands the Tao, Heng (?–291) during the the West characters, or the configuration, the force while wielding the brush. Song her skills of writing and appreciation a concept brought about by ancient Jin Dynasty (265–316). “Zhang calligrapher breaks the uniformity scholar Jiang Kui (1155–1221) wrote will both improve.” philosopher Laozi, meaning “the Boying (?–192, courtesy name of and creates a new sense of harmony in Xu shu pu (Sequel to the “Treatise The “tastes” mentioned above con- natural order of the universe.” Han Zhang Zhi), who used to live in his work; and by controlling the on Calligraphy”): “With horizontal, cern the emotions of calligraphers, Zhang Huaiguan wrote in Pingshu in Hongnong Country, mastered beginning and the end of a stroke, slanting, curved, and straight lines, which can be triggered by incidents Yaoshi Lun: “Great ingenuity ap- the most ingenious brush-turning the writer gives the work a touch of hooks, circular lines, and spirals, and later inspire them to understand pears to be stupidity, and a man of technique. Every piece of cloth in his restrained beauty. shi is the most important element” their lives and the nature of being. great wisdom appears to be ignorant. house would first be used as paper (trans. Chang Ch’ung-ho). However, a calligrapher’s sentiment Those who merely skim the great for calligraphy practise before being Form and spirit In Bodeng Xu (Discussion on tends to go well beyond facial expres- works fall easily into false wisdom, dye and turned into clothes. Zhang A calligraphic masterpiece must Adjusting the Stirrups), Tang scholar sions, unfolding itself onto the paper whilst those that painstakingly study practiced calligraphy by a pond and combine both the xing (form, outer Lin Yun cited a sentence from Han- as vivid dancing strokes. the ‘flavors’ of the pieces tend to be used the water to wash his brush. As shell) and the zhi (spirit). In his book lin Jinjing (Forbidden Classic of the Writing is an outlet for a calligra- overwhelmed by the spirits and mes- time went by, the water turned inky Shuduan (Judgement on calligra- Hanlin Academy): “Calligrapher pher’s feelings. It is through writing sages staring right back at them.” because he was so diligent.” phers), Tang Dynasty calligrapher Han Fangming once taught me that the calligraphers organize their By “studying the flavors,” Zhang Zhang Zhi was a pioneer of the Zhang Huaiguan thus criticized the his technique, namely the ‘bodeng thoughts or distract their minds. was talking about how essential modern cursive script, and was hon- works of Wang Sengqian (426–485; technique.’ Today I’m passing it on to This kind of inner activity might it is to contemplate and seek the ored as the “Sage of Cursive Script” also known as “Wang Jr,” the fourth you, and do not share it with others help them produce works that can Tao. The ideas of Taoism are at the and one of the Four Talented Cal- generation descendent of the “Sage lightly. The laws of wielding the brush generate different emotional re- center of calligraphy appreciation. ligraphers in Chinese calligraphy, the of calligraphy”, Wang Xizhi): “Wang include: pressing, dragging, twid- sponses from different viewers. Only with a clear state of mind can other three being Zhong Yao (151– Jr.’s works are like the clear water in dling and quick pulling. These are the calligraphers“taste” the endless 230), Wang Xizhi (303–361) and his a mountain stream, or a hill covered all the techniques you need to know, Fusion cycle of life and strip themselves of son Wang Xianzhi (344–386). Sadly, in snow. Solemn and peaceful, they but you should understand their “I adore the works of Han (206 the restrictions outside so that they despite the great fame Zhang enjoyed taste plain.” meanings as well as their tastes!” By BCE–220 BC) calligraphers, since can freely transform their feelings in ancient times, no verifiable works In another critique, Wenzi Lun “tastes”, the speaker meant shi. their style is between seal script and and ideas into the rising wind and of his have survived. (On Writing), Zhang also men- Shi is a masculine force, since it clerical script—grand, vigorous and tumbling clouds in the form of dots Admiring Zhang Zhi, Wang Xizhi tioned “taste” as he criticized the is full of vigor and power. Shi refers classic. But after the era of Emperor and strokes. followed his example by washing his works produced with one’s eyes but not only to the calligraphy that is Huan of Han (132–168) and Em- brush and ink stone in the pond in not with one’s heart: “Some works already on the paper, but also the peror Ling of Han (156–189), there The article was edited and trans- front of his house after practicing each might be highly functional, skillful potential or tendency of the brush. was a tendency to renovate the lated from Chinese Art News. Ji day. The pond turned darker day by and well-received, but they are not Shi has a lot to do with how strongly traditional style, losing the original Shaoyu is a member of China Lit- day, and later gained the name “Wang original, nor do they convey any one wields the brush.