Introduction to Chinese calligraphy (Part 1) | Four Arts of Life | Tea with Erping
Summary
TLDRChinese calligraphy, an art form with a rich history, is explored in this script that delves into its origins, evolution, and significance. From the Great Seal style of the Zhou dynasty to the Running script of the Jin dynasty, the script highlights the five major styles and their cultural impact. Notable calligraphers like Yan Zhenqing and Wang Xizhi are celebrated for their contributions, reflecting the intertwining of calligraphy with Chinese philosophy and identity. The script invites viewers on a journey through time, emphasizing the art's enduring beauty and its reflection of the human spirit.
Takeaways
- 📜 Calligraphy is considered the highest form of Chinese art, even surpassing landscape painting in prestige.
- 📚 The term 'Shu Fa' is used in Chinese to describe calligraphy, which translates to 'The art of Writing'.
- 🌏 Chinese calligraphy spans 3,000 years and tells the story of Chinese civilization, making it a historical art form.
- 🖋️ The Chinese language is the world's oldest continuously used logographic language, with over 50,000 characters and no alphabet.
- 🎨 Five major styles of calligraphy have emerged throughout Chinese history, each with unique characteristics and historical contexts.
- 🏯 The development of calligraphy is closely tied to significant historical periods, such as the Qin, Han, and Tang dynasties.
- 🖌️ The 'Four Treasures of a Scholar’s Studio' refer to the essential tools for calligraphy: brush, paper, ink, and inkstone.
- 🎭 The art of calligraphy is deeply connected to Chinese philosophy, reflecting principles such as harmony between yin and yang, and the pursuit of the Dao.
- 👤 The personalities and philosophies of calligraphers, such as Yan Zhenqing and Wang Xizhi, have greatly influenced the styles and perception of calligraphy.
- 🏺 Wang Xizhi's 'Preface to the Poems Composed at the Orchid Pavilion' is a masterpiece of running script and a pinnacle of Chinese calligraphic art.
- ☯️ The practice of calligraphy is not only an artistic pursuit but also a spiritual journey, aiming to achieve inner peace and balance in alignment with Daoist and Confucian ideals.
Q & A
What is the Chinese term for calligraphy and what does it translate to in English?
-The Chinese term for calligraphy is 'Shu Fa', which translates to 'The art of Writing' in English.
How is Chinese calligraphy related to the history of China?
-Chinese calligraphy is intrinsically linked to the history of China as it has evolved over thousands of years, reflecting the development and changes in the civilization.
What are the five major styles of calligraphy that emerged throughout Chinese history?
-The five major styles of calligraphy are Great Seal style, Small Seal Style, Clerical script, Cao Shu (Grass script), and Kai Shu (Standard script).
How did the invention of paper and animal hair brushes impact the development of Chinese calligraphy?
-The invention of paper and higher-quality animal hair brushes solidified the practice of Chinese calligraphy, making it more accessible and leading to its widespread use during the Han dynasty.
What is the significance of the 'Four Treasures of a Scholar’s Studio' in calligraphy?
-The 'Four Treasures of a Scholar’s Studio' refer to the essential tools needed for calligraphy: a writing brush, paper, ink-stick, and inkstone. These tools are simple yet crucial for the practice and have become collectibles among the literati.
What are the 'Ba Fa' or 'Eight rules' in Chinese calligraphy?
-The 'Ba Fa' or 'Eight rules' are the fundamental brush strokes from which all other strokes in Chinese calligraphy derive. They form the basis for learning calligraphy, especially Kai Shu or Standard script.
How does Daoism influence the practice and appreciation of calligraphy?
-Daoism influences calligraphy through its principles of harmony and balance, such as the balance between yin and yang. This is reflected in the composition and aesthetics of calligraphy, where balance between elements like white and black, thick and thin, and smooth and rough is sought.
What is the story of Yan Zhenqing and how does it exemplify Confucian values?
-Yan Zhenqing was a loyal official in the Tang dynasty who refused to surrender to the rebel leader Li Xilie, even when faced with being thrown into a fire. His steadfastness and integrity exemplify Confucian values of righteousness, courage, and a sense of duty.
Who is Wang Xizhi and why is he considered the greatest calligrapher in Chinese history?
-Wang Xizhi is regarded as the greatest calligrapher in Chinese history due to his mastery of various script styles and his unique Running script. His most famous work, the Preface to the Poems Composed at the Orchid Pavilion, is celebrated for its artistic excellence and philosophical depth.
What is the significance of the Preface to the Poems Composed at the Orchid Pavilion in the history of Chinese calligraphy?
-The Preface to the Poems Composed at the Orchid Pavilion is significant as it is a masterpiece by Wang Xizhi, showcasing his mastery of the Running script. It also captures a moment of cultural and artistic significance, reflecting on the transient nature of time and the enduring power of art and expression.
How did Wang Xizhi's personal life and beliefs influence his calligraphy?
-Wang Xizhi's calligraphy was influenced by his Daoist beliefs and his observations of the natural world, particularly the grace and ease of the geese he kept. His work is characterized by spontaneity and a smooth, flowing style that mirrors the natural movements he admired.
Outlines
🖋️ Introduction to Chinese Calligraphy
This paragraph introduces the art of Chinese calligraphy, highlighting its significance as the highest form of Chinese art. It explains the term 'Shu Fa' and its translation to 'The art of Writing'. The speaker shares personal experiences with calligraphy, learned from his father, and poses the question of how writing became such a prominent art form in China. The paragraph also provides a brief history of Chinese language and calligraphy, mentioning the Great Seal and Small Seal styles, and setting the stage for exploring the history and evolution of calligraphy in China.
📜 Historical Development of Calligraphy Styles
This section delves into the historical development of various calligraphy styles in China. It begins with the Qin dynasty's unification of writing under the Small Seal Style and continues through the Han dynasty's establishment of the Clerical and Cao Shu scripts. The emergence of Kai Shu or Standard script and Xing Shu or running script during the Jin dynasty is also discussed. The paragraph emphasizes the cultural significance of these styles and their influence on later calligraphers, as well as the philosophical and aesthetic principles that underpin the creation and appreciation of calligraphy.
🖌️ Tools and Techniques of Calligraphy
This paragraph focuses on the tools of calligraphy, known as the Four Treasures of a Scholar's Studio, and the techniques used in the art form. It explains the Ba Fa or 'Eight rules' that form the basis of all brush strokes in calligraphy and how these are derived from the character Yong, symbolizing endurance and perseverance. The paragraph also touches on the philosophical aspects of calligraphy, such as the Daoist principles of harmony and balance, and the Confucian ideals reflected in the style of writing.
🎨 Eminent Calligraphers and Their Works
This section highlights the contributions of notable calligraphers in Chinese history, such as Yan Zhenqing and Wang Xizhi. It describes Yan's moral integrity and his famous work, the Yan Qinli Stele, as well as Wang's mastery of the Running script and his most celebrated piece, the Preface to the Poems Composed at the Orchid Pavilion. The paragraph also explores the personal lives and philosophies of these calligraphers, and how their works have inspired countless others and become part of China's cultural heritage.
🍵 Reflections on Calligraphy and Tea
In this concluding paragraph, the speaker reflects on the journey through the history of Chinese calligraphy, emphasizing the transformative power of art and the insights gained from this exploration. The speaker invites viewers to join him for the next episode, promising more dynamic periods of Chinese calligraphy and personal encounters with the art form. The paragraph ends with a reminder of the present moment and the calming effect of a cup of tea, leaving viewers with a sense of peace and anticipation for the next installment.
Mindmap
Keywords
💡Calligraphy
💡Shu Fa
💡Chinese Characters
💡Five Major Styles
💡Four Treasures of a Scholar’s Studio
💡Ba Fa
💡Yan Zhenqing
💡Wang Xizhi
💡Daoism
💡Confucianism
💡Preface to the Poems Composed at the Orchid Pavilion
Highlights
Calligraphy is considered the highest form of Chinese art, even surpassing landscape painting.
The art of calligraphy has been developed over thousands of years and can seem intimidating at first glance.
The word 'calligraphy' originates from Greek, meaning 'beautiful writing', while in Chinese it is called 'Shu Fa', translating to 'The art of Writing'.
Chinese calligraphy tells the story of a civilization, making it a reflection of China's history.
The Chinese language is the oldest continuously used language and the only surviving logographic language in the world.
There are over 50,000 characters in the Chinese language, with no alphabet, requiring each character to be learned independently.
Five major styles of calligraphy emerged throughout Chinese history, each with its unique characteristics and historical context.
The Great Seal style was used during the Zhou dynasty and is characterized by long rectangular shapes with rounded corners.
Qin ShiHuang introduced the Small Seal Style and standardized the written language during his rule in the Qin dynasty.
The Han dynasty saw the establishment of the Clerical script as the standard for official writing, which is well-suited for swift writing with a brush.
Cao Shu, or Grass script, emerged during the Han dynasty, known for its fluid and smooth characters, often written without lifting the brush from the page.
Kai Shu, or Standard script, is characterized by its thin, linear strokes and is used extensively in modern print and online text.
Xing Shu, or running script, developed during the Jin dynasty, is a balance between the structured Kai Shu and the expressive Cao Shu.
The Six Dynasties period was marked by division in China but also saw the emergence of many famous calligraphers.
The Four Treasures of a Scholar’s Studio refer to the essential tools for calligraphy: brush, paper, ink-stick, and inkstone.
The Ba Fa, or 'Eight rules', are the fundamental strokes from which all other brush strokes in calligraphy derive.
The character 'Yong' embodies the core value of endurance and perseverance and contains all the Ba Fa strokes.
Chinese calligraphy is deeply connected to Eastern philosophy, with practices aiming to achieve harmony with the Dao and balance between yin and yang.
Yan Zhenqing's calligraphy reflects his Confucian values, showcasing a style that is full, centred, and firm.
Wang Xizhi is regarded as the greatest calligrapher in Chinese history, with his work admired for its mastery of Running script and unique character variations.
Wang Xizhi's 'Preface to the Poems Composed at the Orchid Pavilion' is a masterpiece that captures a timeless sentiment of transience and the enduring nature of human emotions.
The original 'Preface to Lan Ting Xu' is believed to have been buried with Emperor Taizong, making copies and inspired works the only remaining testament to its brilliance.
Transcripts
Welcome to Tea with Erping.
Calligraphy is regarded as
the highest Chinese art.
Even more so than
Chinese landscape painting. It’s an art form
developed for thousands of years.
At first glance,
it can seem intimidating,
but if you can give some time
to first understand the history,
you’ll find the artworks will reward you
with endless enjoyment in the future.
So what is calligraphy?
The western word “calligraphy”
is of Greek origin.
It means “beautiful writing”.
In Chinese, calligraphy is called Shu Fa.
The word Shu literally means ‘book’,
and the word Fa means ‘Law or Method’.
The two characters together
translate into ‘The art of Writing’.
Did you know that
these are all Chinese calligraphy?
From its earliest forms 3,000 years ago,
up to the present day,
Chinese calligraphy tells the story of a civilization.
So in a way,
Calligraphy could also be called
the Art of China’s history.
I studied calligraphy in elementary school,
watching my father do it from time to time.
He was an old-school scholar
who began writing with brush pens
when he grew up in the 1930s.
So he taught me how to use the pen
and make the black ink from the ink-stone,
as well as the writing styles.
When I got older I came to appreciate
the intricacies of calligraphy
and the inner meaning.
I’ll demonstrate some calligraphy-writing
later in the video.
So how did writing,
something you and I do every single day,
become such a prominent art-form in China?
Today let us explore the history of calligraphy
and then look at some of the
greatest calligraphy masters.
First, for those who are not
familiar with the Chinese language,
here’s a quick primer:
The Chinese language is the oldest language
in continuous use,
as well as the only surviving logographic language
in the world.
Its development is unique.
A single word in Chinese could be made up
of several characters,
and each character
from a unique variety of strokes,
making it a written language
very rich with symbols.
This is quite different
compared with Western calligraphy
which is based on
the original 23-letter Latin alphabet.
There are over 50,000 characters
in the Chinese language…
And no alphabet.
So you must learn each character independently.
If you’re familiar with 2-3,000 of those,
it’s enough to read the newspaper
and you’ll be fine to go about your daily life.
The Chinese language
is really an incredible thing!
Let’s dive in.
Throughout Chinese history,
5 major styles of calligraphy emerged.
When we think of Calligraphy
we imagine scrolls of ornate script
written with brush and ink.
But its early forms trace back to a time
long before either of these were invented.
If you watched my episode on Chinese characters,
you might remember
I explained the origin of Chinese characters
came from the Shang dynasty [13th century BC]
when early characters were used for divination,
and the inscriptions were carved onto
animal bones and rock.
When the Shang dynasty was overthrown,
the Zhou dynasty [1122-221BC]
created the Mandate of Heaven.
This established the belief
that legitimacy of rule is granted by gods.
The writing style used at this time
retained long rectangular shapes
with slightly rounded corners.
This became known as the Great Seal style.
It would be many hundreds of years later
before the written language would change again.
Qin ShiHuang became the first emperor
and established the Qin dynasty.
He unified the land of China,
and in short 11 years of rule as Emperor,
he built the Great Wall of China,
set down the rule of law,
standardized the Chinese currency
among many other things,
and he introduced the basis of
a uniform written language for the country.
This became known as the Small Seal Style.
With the invention of paper
and higher-quality animal hair brushes,
Chinese calligraphy was well and truly established
in the Han, [206BC–220AD].
It was China’s longest lasting dynasty
that writing became widely used for official purposes.
And writing with brush and ink became the norm.
And it made sense
to have everyone use the same writing style:
the Clerical script.
With downward sweeping strokes with tapering ends,
this style is perfectly suited
for writing swiftly with a brush.
Shapes of characters written in this style
have a certain rhythm and a dignified look.
Even using the brush
to create a simple horizontal stroke,
referred to as “silkworm head and goose tail”
is dynamic to look at.
Another style of calligraphy
that emerged in the Han dynasty,
has altogether a very different flavor.
It goes by the name of Cao Shu.
Cao means grass,
and you can also take it to mean ‘quick’, or ‘rough’.
Characters written in this style
are extremely fluid and smooth.
Even several phrases could be written at once
the brush would never leave the page.
So Cao Shu follows a different rulebook.
If we compare the two you can see
how it departs from the rules of the stalwart styles,
to simplify the details of character formation
in favor of the abstract form and overall image.
This expressive style reached its height of popularity
some 500 years later in the Tang dynasty.
Towards the end of the Han dynasty,
the Kai Shu or Standard script style emerged.
It features distinct thinner, linear strokes,
and is rectangular, uniform, and easy to read,
very much the opposite of Cao Shu.
Today we see this style used everywhere in print,
and also online.
This style looks simple.
But in actuality,
you would need strong discipline
and many years of dedication to master
all the 37 brush strokes of this style.
The development of calligraphy
reached its peak
in the Jin dynasty,
with a new fifth style of calligraphy
- Xing Shu, or running script.
It’s artistic and lively with a rounded shape,
but still has enough form that
most people could easily read the characters.
This is perhaps the most-loved
of all the script styles
and holds the middle ground
between Kai Shu and Cao Shu.
These three scripts,
the Cursive script,
Standard script,
and Running script
appeared during the time of
Six Dynasties (220AD - 589AD).
This was a time of division
as the land of China became
separated into different kingdoms.
But many of China’s most famous calligraphers
emerged in this period.
Together,
the 5 scripts would become like canon.
Later calligraphers in Tang and Song dynasties
would look to these earlier styles
for the foundation of their artworks.
This was a time
when calligraphy became
more closely associated with
poetry and cultural learning.
Calligraphers continued to
develop their own styles,
and showed more individual, personal flair.
The Golden ages of China,
the Tang and Song dynasties,
were also the golden ages for calligraphy.
Towards the end of the Song in particular,
calligraphy reached its peak.
This led to a term being coined:
the Four Treasures of a Scholar’s Studio.
So what are the four treasures?
These refer to the tools
needed for calligraphy:
A writing brush,
traditionally made from animal hair,
paper,
and an ink-stick and an inkstone.
When you grind the ink-stick
on the inkstone and add water,
you could form ink.
The tools are few and simple.
But they vary in quality
and have become precious collectibles
among the literati.
Since the Tang dynasty,
students began with Kai Shu
to learn the fundamentals,
starting first with the Ba Fa,
or ‘Eight rules’.
All the brush strokes in calligraphy
come from these 8 basic strokes.
Interestingly,
all these strokes can be found
in one character - Yong.
Yong stands for endurance and perseverance.
Here I am doing a demonstration
of Yong in Kai Shu.
Like the lotus flower
blossoming out of the mud,
this is a core value
found in Chinese and all Eastern cultures.
Studying Chinese calligraphy
can open a window to the world
of Eastern philosophy.
How so?
Here are some of the criteria
traditionally used to judge these artworks:
It includes
and so on and so forth.
While these may seem complicated at first,
it all has to-do with the Chinese belief
in the relationship
between heaven, earth and humanity.
At its essence,
calligraphy was seen as a way
to become closer to
the divine ideal of being one with the-Dao,
or to know one’s universal nature.
Through practicing the arts,
a person could aspire to reach that.
Daoism,
founded by Lao Zi,
has had a lasting impact
on calligraphy and many areas of Chinese culture.
And when you look at calligraphy through this lens,
the experience becomes even richer.
When people talk about finding beauty
in the composition,
there is another layer of meaning.
The sophisticated calligrapher
writes with perfect balance,
balance of white and black,
thick and thin, big and small,
smooth and rough,
dark ink and light ink
- just as the Daoist principles teach of harmony
between yin and yang.
Earlier I mentioned the Chinese saying字如其人,
meaning: Handwriting shows one's personality.
It is said that
- a person’s philosophy can influence their calligraphy.
What goes on the inside,
shows on the outside.
To achieve a state of inner peace,
calligraphers would aspire
to find balance in themselves
and return to simplicity.
And then,
it would show in their writing.
Chinese believed that
the person and their artwork
embody the same nature.
Confucian teachings
have also had their influence in calligraphy.
For example,
Confucian tastes follow the golden mean
- the writing typically looks full (fou), centred and firm,
indicating righteousness
and a sense of inner confidence,
without recklessness.
Yan Zhenqing,
a loyal official in the Tang dynasty,
was such a Confucian.
You won’t forget this man or his calligraphy
after you learn his story
at the An Lushan rebellion.
Yan was alone on enemy grounds.
His MO was to negotiate with rebel leader, Li Xilie.
Li tried all means
to get Yan to surrender to him,
but Yan never gave in.
Legend says that
one day Li set up a fire in the courtyard
and told Yan,
if he didn’t surrender,
he would be thrown straight into the fire.
Yan resolutely stood up,
and without hesitation,
walked himself into the fire.
The order was given to have him pulled out.
Li couldn’t help but feel respect for Yan after that,
and he let Yan leave the camp.
To me,
Yan exemplified
what a man of honor and virtue should be,
a true Confucian indeed.
This is Yan Qinli Stele stele,
Yan’s most famous work,
which was completed after the rebellion.
Yan Zhengqing was in the later years of his life
when he carved these words of tribute into stone,
to commemorate his great grandfather Yan Shigu.
Yan Zhenqing was lucky enough
to be born into a literary family.
His great grandfather
was a famous historian and linguist,
and his father Yan Weizhen
tutored Tang dynasty princes.
In the stele you can see
his style is actually full of life,
but at the same time
shows the highest level of control.
The Yan Qinli Stele would become
referenced and copied countless times
by future students
who admired this morally upright
and stately style.
Now there’s another calligrapher
we have to get to know.
For thousands of years
he has been regarded as
the all-time greatest calligrapher.
His name was Wang Xizhi.
When Emperor Wu of Liang dynasty
saw this piece by Wang Xizhi.
This is what he said about the calligraphy:
A dragon leaping at the Gate of Heaven,
A tiger crouching at the Phoenix Tower.
China’s emperor was impressed,
and he wrote these remarks
on the scroll next to Wang’s calligraphy.
It was common for emperors to leave remarks
on important artworks
to leave a legacy for future generations.
Through it,
we are able to get a better sense of cultural value.
The Emperor Taizong of the Tang dynasty
was also a fan.
He collected more than 2,000 pieces
of Wang Xizhi calligraphy
and even composed the entry to his biography
for the official history of the Jin dynasty.
With that,
Wang Xizhi would enjoy an eternal place
in China’s history.
Wang’s most famous piece
was Preface to the Poems
Composed at the Orchid Pavilion
In the year 353AD,
Wang invited 41 fellow literati friends
to come enjoy a poetry contest
at the Orchid Pavilion
alongside a flowing stream.
Cups of rice wine floated downstream.
If a cup stopped in front of them,
that person would write a poem.
And we assume
they would enjoy their beverage afterwards.
Altogether 26 guests composed 37 poems.
Observing that spring day
among lofty mountains
and slender bamboo,
Wang was inspired to write his famous Preface.
As Wang reflected on a perfect afternoon,
his words revealed a lasting sentiment
that resonates with every one of us:
Future generations will look upon us
Just like we look upon our past
How sad!
Hence,
we record the people
presented here today and their works;
Even though
time and circumstances will be different,
The feelings expressed will remain unchanged.
Future readers shall also empathize
with the same
by reading this poetry collection
So why is this piece so admired?
Wang Xizhi mastered many script styles,
but it’s the Running script
he’s most famous for.
Preface is perhaps the finest example.
Look closely at the characters
can you tell
how some elements in individual characters
seem to pull away from each other?
Yet each character holds its own space.
This marks Wang Xizhi’s style
and is one of the ways
you can tell
his work apart from those of other running scripts.
Another interesting thing is
how Wang playfully used characters...
The character 之,
which by itself means “of”
and the same character in Wang Xi Zhi’s name
is used 20 times,
and each time
Wang was able to write it differently.
The characters are written spontaneously,
yet each carries its own flavor.
You might be wondering
what kind of man Wang Xizhi was.
Born in 303AD in the Jin Dynasty,
Wang came from a family of renowned writers,
and he began practicing calligraphy
when he was seven years old.
He was so diligent when writing,
he would forget to eat.
After practice,
he would clean his brushes outdoors in a pond.
He did it so often,
he turned the color of the water to ink.
Wang Xizhi, the calligrapher,
was also a Daoist.
He took inspiration from the natural world,
and his smooth calligraphic style
was often likened to
the grace and ease of the geese he liked to keep.
Here we see
Wang Xizhi and his young attendant
enjoying a peaceful scene,
overlooking the water from a pavilion.
Two white geese swim towards them.
It's said while watching
how the geese move their long necks,
Wang enlightened to the principles of calligraphy
and the ideal wrist movements,
which he adopted in his writing.
Like his forefathers
who held prestigious positions in government,
Wang also took office.
But he cared little for fame
and the renown that came with it,
and in his later years
he resigned to devote himself to his passion:
calligraphy.
As for Preface to Lan Ting Xu,
after word got out,
countless copies were written
by Wang’s peers and contemporaries.
His words have been engraved on stone,
Emperors have commissioned sculptures,
and landscape paintings have been created,
all inspired by the story of Lan Ting Xu.
The original is said
to have been buried with Emperor Taizong.
And today,
no original works of his remain,
which makes this man’s art priceless.
We are now half way through our introduction
of the art of calligraphy.
Perhaps this is a proper time
for a tea break.
In the next episode
I will share-about
an even-more dynamic period
of Chinese calligraphy,
including my own encounters with this art form.
As a Chinese proverb says,
“He who returns from a journey
is not the same as he who left.”
I have a feeling
that you are not the same person now,
having-traveled-this-far
in the history of Chinese calligraphy.
No one has lived in the past or the future,
only the now.
Perhaps a cup of tea
can help keep your world sane.
Thank you for watching.
Until next time,
peace and tea be with you.
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