Introduction to Chinese calligraphy (Part 1) | Four Arts of Life | Tea with Erping

Summary

Chinese 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

00:00

🖋️ 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.

05:00

📜 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.

10:03

🖌️ 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.

15:03

🎨 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.

20:05

🍵 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.

Keywords

💡Calligraphy

Calligraphy, derived from the Greek words for 'beautiful writing', is an art form central to Chinese culture, often regarded as the highest form of Chinese art. It involves the stylized writing of Chinese characters and is deeply tied to the history and philosophy of China. In the video, calligraphy is presented as a reflection of Chinese civilization and a medium through which one can connect with Eastern philosophy and the divine ideal of being one with the Dao.

💡Shu Fa

Shu Fa is the Chinese term for calligraphy, with 'Shu' meaning 'book' and 'Fa' meaning 'Law or Method'. This term encapsulates the structured and rule-based nature of Chinese calligraphy, which is not only an art form but also a discipline that requires mastery of specific techniques and styles.

💡Chinese Characters

Chinese characters are the building blocks of the Chinese language, a logographic writing system where each character represents a word or a meaningful unit of language. With over 50,000 characters, the Chinese language is unique in its complexity and richness, requiring individuals to learn each character independently. The characters' evolution over time reflects the history of Chinese civilization.

💡Five Major Styles

The five major styles of Chinese calligraphy refer to the distinct script styles that have emerged throughout Chinese history: Great Seal, Small Seal, Clerical, Cursive, and Running scripts. Each style has its own unique characteristics and historical context, from the formal and rectangular shapes of the Great Seal style to the fluid and expressive lines of the Cursive script.

💡Four Treasures of a Scholar’s Studio

The Four Treasures of a Scholar’s Studio refer to the essential tools used in Chinese calligraphy: the brush, ink, paper, and inkstone. These tools are not only practical but also symbolic, representing the scholar's dedication to the pursuit of knowledge and artistic expression. The quality and craftsmanship of these tools have made them precious collectibles among the literati.

💡Ba Fa

Ba Fa, or the 'Eight Rules', is a fundamental principle in Chinese calligraphy that outlines the basic strokes from which all characters are constructed. Mastery of these eight strokes is essential for any calligrapher, as they form the basis of more complex character formation.

💡Yan Zhenqing

Yan Zhenqing was a prominent calligrapher and official during the Tang dynasty, known for his moral integrity and distinctive calligraphic style. His works, such as the Yan Qinli Stele, are celebrated for their dynamic and controlled brushwork, reflecting both his personal character and the Confucian values of righteousness and inner confidence.

💡Wang Xizhi

Wang Xizhi is revered as the greatest calligrapher in Chinese history, known for his mastery of the Running script and his influential work, the Preface to the Poems Composed at the Orchid Pavilion. His calligraphy is characterized by its natural grace and the unique way he varied the writing of the character '之', showcasing his creativity and skill.

💡Daoism

Daoism, a philosophical and religious tradition originating in China, has significantly influenced Chinese calligraphy. It emphasizes harmony with the Dao, or the Way, and the principles of yin and yang. Calligraphers strive for balance in their work, reflecting Daoist teachings on the interplay between opposing forces.

💡Confucianism

Confucianism, another key philosophical system in China, has also shaped the practice of calligraphy. It values the golden mean, righteousness, and a sense of inner confidence. Calligraphers who adhere to Confucian ideals often produce work that is full, centered, and firm, indicative of moral integrity and self-discipline.

💡Preface to the Poems Composed at the Orchid Pavilion

The Preface to the Poems Composed at the Orchid Pavilion is Wang Xizhi's most famous work and a masterpiece of the Running script. It was written during a gathering at the Orchid Pavilion where guests composed poetry. The preface reflects on the transience of time and the enduring nature of human emotions and artistic expression.

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.