East Asian Calligraphy - the Art of Brush

Calligraphy is one of the most revered and enduring art forms in East Asia, encompassing the traditions of China, Japan, and Korea. Its history, styles, and philosophies reflect the cultural and aesthetic values of the region, merging visual art with language and spirituality.

Poem Written in a Boat on the Wu Rver by Mi Fu (行書贈別劉滿詩 by 米芾)

Origins and History

1. Chinese Calligraphy (書法, Shūfǎ)

• Origins:

  • Chinese calligraphy originated over 3,000 years ago, with the earliest forms found in oracle bone inscriptions (甲骨文) from the Shang Dynasty (1600–1046 BCE).

    • The evolution of Chinese characters (漢字) laid the foundation for calligraphy as an art form.

• Golden Age:

  • During the Han Dynasty (206 BCE–220 CE), calligraphy became a respected discipline.

  • The Tang Dynasty (618–907 CE) is often considered the golden age, producing many renowned masters.

• Philosophical Basis:

  • Daoism, Confucianism, and Buddhism deeply influenced Chinese calligraphy, emphasizing harmony, balance, and the expression of the artist’s spirit.

2. Japanese Calligraphy (書道, Shodō)

• Introduction from China:

  • Calligraphy was introduced to Japan around the 5th to 6th centuries via Korea and China.

  • Early Japanese calligraphy was heavily influenced by Chinese styles and Buddhist texts.

• Development of Kana Scripts:

  • The invention of Hiragana (平仮名) and Katakana (片仮名) in the Heian period (794–1185) gave rise to uniquely Japanese calligraphy styles.

• Integration with Zen:

  • Japanese calligraphy became closely tied to Zen Buddhism, emphasizing simplicity and spontaneity.

Seven-character Buddhist maxim by Kogetsu Sogan (七字禅偈図 by 古月宗庵)

3. Korean Calligraphy (서예, Seoye)

• Introduction from China:

  • Korean calligraphy developed under Chinese influence during the Three Kingdoms period (57 BCE–668 CE).

• Creation of Hangul:

  • The invention of Hangul (한글) by King Sejong in the 15th century added a uniquely Korean dimension to calligraphy.

• Philosophical Ties:

  • Confucian values shaped Korean calligraphy, emphasizing discipline, harmony, and moral cultivation.

Poem of Farewell to Liu Man by Yelü Chucai (行書贈別劉滿詩 by 耶律楚材)

Key Styles of Calligraphy

1. Regular Script (楷書, Kaishu)

• Characteristics: Clear, structured, and disciplined. Each stroke is carefully executed.

• Origins: Popularized during the Eastern Han Dynasty (25–220 CE).

• Example Master: Yan Zhenqing (顏真卿).

2. Running Script (行書, Xingshu)

• Characteristics: Semi-cursive, blending structure with flow for readability and elegance.

• Origins: Developed during the Han Dynasty.

• Example Master: Wang Xizhi (王羲之), known as the “Sage of Calligraphy.”

3. Cursive Script (草書, Caoshu)

• Characteristics: Free-flowing and expressive, often abstract and difficult to read.

• Origins: Emerged during the Han Dynasty.

• Example Master: Zhang Xu (張旭), renowned for his wild cursive style.

4. Seal Script (篆書, Zhuanshu)

• Characteristics: Archaic and formal, often used for seals and inscriptions.

• Origins: Used in the Qin Dynasty (221–206 BCE) for official documents.

• Example: Found in ancient Chinese stone carvings.

5. Clerical Script (隸書, Lishu)

• Characteristics: Flattened, wide strokes with decorative flourishes.

• Origins: Developed during the Han Dynasty for administrative purposes.

• Example Master: Cai Yong (蔡邕).

Biographies of Lian Po and Ling Xiang Ru by Huang Tingjian (草書廉頗藺相如傳 by 黃庭堅)

Philosophy of East Asian Calligraphy

1. Expression of Spirit (氣韻生動):

• The artist’s inner emotions, personality, and spirit are revealed in their brushstrokes.

• The process is as important as the final work.

2. Balance and Harmony:

• Each character is composed with attention to proportion, flow, and rhythm, symbolizing the harmony of the universe.

3. Meditative Practice:

• Calligraphy is often a form of meditation, particularly in Zen Buddhism, where the act of writing becomes a spiritual exercise.

4. Unity of Form and Meaning:

• The visual beauty of the characters complements their meaning, creating an inseparable connection between form and content.

Tools of Calligraphy (文房四寶, Four Treasures of the Study)

1. Brush (筆, Bǐ):

• Made from animal hair, with varying sizes and stiffness for different effects.

2. Inkstick (墨, Mò):

• Solidified ink made from soot, ground on an inkstone with water to create liquid ink.

3. Inkstone (硯, Yàn):

• A stone surface used for grinding inksticks and mixing ink.

4. Paper (紙, Zhǐ):

• Absorbent paper such as Xuanzhi (宣紙), designed to hold ink beautifully.

Calligraphy in Modern Times

1. Cultural Preservation:

• Calligraphy remains a valued tradition in China, Japan, and Korea, often taught in schools and practiced by hobbyists and professionals.

2. Artistic Innovation:

• Contemporary artists experiment with calligraphy by integrating modern materials, abstract forms, and multimedia elements.

3. Global Influence:

• East Asian calligraphy has inspired global art movements, including abstract expressionism, with artists like Franz Kline and Brice Marden drawing influence from its principles.

Traditional East Asian calligraphy is more than a form of writing—it is a profound artistic and philosophical practice that embodies the cultural values of China, Japan, and Korea. Its evolution over millennia reflects the region’s shared heritage while highlighting each culture’s unique interpretations and innovations. Calligraphy remains a timeless art form, connecting past and present through the beauty of brush and ink.

Yokusen Letter by Ono no Michikaze (玉泉帖 by 小野道風)