Articles About Chinese Calligraphy

There are many popular notions or misconceptions about Chinese calligraphy known to the general public. Even most learned Chinese are preoccupied with some assumptions or misconceptions about Chinese calligraphy whether the notions can be correct, incorrect, appropriate, or inappropriate. Art is all about perceptions, feelings, and esthetics; they are not textbook standards or statements, or associated with one's educational degrees, social status, and political affiliations. After we have studied the works, theories, and principles of ancient Chinese calligraphy masters, we may find the following common notions or misconceptions widely held by most people.

Size of Chinese Calligraphy

Most people think the larger the Chinese character’s size is, the better and more expensive the work is. The artistic level of a Chinese calligraphy work is not necessarily relevant to its character size. The size only matters to those who have not learned Chinese calligraphy or who do not know how to appreciate it. Some people think that the bigger sizes give them more visual impression. However, the saying "The varieties and nuances of beauty are just within inches. ( 方寸之間，氣象萬千 )" applies to Chinese calligraphy and seals.

Character sizes around 3 x 3 inches are the easiest and most common. Characters as large as 9 x 9 inches demand a higher level of skill and physical strength. Characters smaller than 0.5 x 0.5 inches demand the highest level of precision in regard to skills, physical strength, and optimal personal well being. That's why Chinese calligraphers specializing in Small Characters are very rare throughout each dynasty. Just as technique is the fundamental of art, precision is the soul of techniques.

Many Chinese calligraphy practitioners often try to impress the average audience with super large writings. However, as long as delicacy, spirit, and strong will are embodied in each strokes, the size of writing is not a decisive factor to rate the work.

Write Neatly Inside Grids

Ancient Chinese calligraphers did not write neatly inside grids. They did the art with a natural and peaceful mind. The work was not to be confined or measured. It is said that a student of Zhong Yao tried to write neatly in one size, then he was so scorned by his teacher that he dared not see him for three years.

It was until the time (approximately the Tang Dynasty) when people began to use Chinese calligraphy as a means to gain positions of government officers and be recognized by the judges in the examinations that they began to write neatly or inside grids. Such style is called Guan Ge Te ( 館閣體 ). It's a "trend" of writing rather than a major style or a sub style of Chinese calligraphy. This style looks neat but lacks spirit and depth. And it's never seriously regarded by Chinese calligraphers. Every character of "Guan Ge Te" looks like the same without obvious variations in size, expression, strokes, and writing speed. This was a starting point when Chinese calligraphy began to fade in artistic levels! Today if we don’t write neatly, we may not get a reward in most contests. People forget the original state of Nature. There are no identical leaves, trees, and mountains in Nature. And we just begin to separate ourselves away from Nature!

The first and second works possess enormous beauty and more spirit while the third one looks more man-made and confined.

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Writing Speed

Modern Chinese calligraphy contests usually require the contestants finish their works in a limited time span. Most audiences will be astonished by a “fast” calligrapher with a fluent and stunning speed in a public demonstration.

Our eyes may deceive us. When we watch an airplane and a car moving, can our eyes tell us which is moving faster? Time is relative, not absolute. It depends on the observer’s position.

Not only Chinese calligraphy adopts the importance of “slow practice” which is quite contrary to the public notion. Carl Tausig, Franz Liszt’s favorite and number one student, would play every piece, every note and detail very, very slowly again on the piano right after each concert. He was such a brilliant pianist that his master and colleagues gave him the highest compliments. It was said that until his death Tausig had no equal. The Chinese internal martial artists also have a saying, “Slow is fast!”

Every masterpiece of the “Bei School 碑學” rubbings shows us that the ancient calligrapher had gone through a lengthy process of meditation and mental design. When they were commissioned to do a great work for the emperors, scholars, or important events, they would go home practicing again and again, contemplate for months, design and improve mentally over and over until they reached their best level that are mostly unsurpassed by later calligraphers in that particular style. And when they wrote, they did it with all due submission and respect, their works become the learning models for over thousands of years.

A work produced after weeks or months of preparation looks more stable and rich in spirit.

This is why I do not have a fully commercialized website to sell my works promptly with features that the customers can choose "any" desired phrase, length, width, style, and fast delivery to fit in today’s Internet business. By doing this catering, I believe it’s against the legacy and spirit of Chinese calligraphy. I deeply appreciate those with their respect, understanding, patience, and support from the bottom of my heart.

The topic of speed in doing Chinese calligraphy is somewhat metaphysical, especially considering the mental design, Gee & Se, and many other factors. It's not to be understood from the speed or velocity as in physics or sciences. Science can never measure the "speed" and "quantity" of a mother's love. According to some Chinese calligraphers in our time, we agree the writing speed of the calligraphers in the Jin and Tang Dynasties (the golden eras of Chinese calligraphy) were moderate, not hurrying. It means that their speed was neither fast nor slow, could be either fast and slow, or anything in between, transcendental, or metaphysical. A mere bragging of one's ability to write certain number of Chinese characters per minute or per hour is evidently showing one's lack of real knowledge and skills of Chinese brush arts, where these may happen often among amateurs, beginners, and pedants who have read many Chinese calligraphy books from libraries.

Content of Calligraphy

People want their desired content more than the artistic level in a Chinese calligraphy work.

Most Chinese and non-Chinese both prefer to choose something more meaningful to them rather than the level of the art itself. It’s not right to ask people to change their attitude of what they are looking for. What we can do here is to enhance the public consciousness and knowledge of what a traditional and authentic Chinese calligraphy work appears to be in terms of its artistic level.

Chinese calligraphy uses Chinese characters as its only medium of expression. Unless you also practice Chinese calligraphy, a viewer does not have to know Chinese to appreciate its beauty because Chinese calligraphy is an abstract art. When viewing Chinese calligraphy, one need not ask, "What do those Chinese writing mean?", "What is this style?" or even "Who did this?" In viewing a beautiful work, one does not necessarily ask or worry about "What is it?" Just relax and look at them for enjoyment and let the Art of Chinese Calligraphy sooth our mind.

Most Chinese poems and calligraphy masterpieces were articles that are not at all related to our modern life. They were written in Classical Chinese Style (Wen Yen Wen 文言文 ) and need to be deciphered or translated into Plain Conversation Style (Bai Hua Wen 白話文 ). Some of the calligraphy masterpieces were ancient and rare poems and they presented to us the depth of beauty within. Most of the famous poets in ancient China were not necessarily great calligraphers while most calligraphers’ poems were not very well known compared to those of famous poets. However, the calligraphers wrote their articles according to the “genre” that best fitted into the realms of Chinese calligraphy in terms of the selection and sequence of Chinese characters. The ancient Chinese calligraphers and scholars did favor some characters and used them frequently. They might have disliked some characters and they rarely or never used in their writing or calligraphy. For example, in ancient China, people wrote in Classical Chinese Style. The English words “you” or “thou” can be translated into “ 汝 ”, “ 爾 “ or ” 你.” The ancient Chinese rarely wrote ” 你.” And ancient calligraphers almost never wrote ”你“. Instead, Classical Chinese Style usually wrote “ 汝 ” and “ 爾 “ while ancient calligraphers mostly favored “ 汝.” Even though those three characters mean the same “you,” calligraphers preferred “ 汝” to ” 你 ” for artistic reasons. If you have learned Tsao Style, you will understand why.

Just like a composer likes to use certain methods in counterpoint or harmony to create a musical phrase, there are some methods or forms that some composers do not like to use. A Beethoven piano sonata was to be played on the piano only, not on the violin or by the symphony. To some degree, Chinese calligraphy will best fit in the genre of ancient Chinese articles or poems rather than any words from commercial or political campaign in terms of artistic level and depth.

Clear Rubbings and Models

Most beginners want to choose clearer, amended, "restored," or enhanced versions of rubbings ( 拓本 ) instead of the earlier and original ones.

Most beginners do not have an idea of what the original rubbings of ancient characters look like. Some rubbings are so vague that is beyond reading. Publishers thus amend or make up (they prefer to call "restore") clearer versions of rubbings to cater the beginner’s mind and preference for convenience.

If we look closely and examine the details in the bottom row of the above samples, we will find nuances and details being changed by the publisher. The publishers are not necessarily calligraphers. Even if they are, any amending in any kind, no matter how small, will destroy the original spirit and probably the positions, strokes, and thickness to some extent. Those "restored" versions are merely camouflage. Even if you are just a beginner or a non-Chinese, be sure to choose the original and earlier version over the “clearer and amended” version. It’s permissible to buy both “original” and “amended” versions for comparison. But only the “original” version can be used for Lin Mo practice.

However, if you are not a Chinese and just start learning Chinese language and/or calligraphy, it’s okay for you to use this kind of “amended” or “clearer” rubbings. As you have made more progress, it’s advisable that you stay away from those versions and get the real ones.

Life of A Brush

Most people assert that a brush will last for an average of few years, probably one or two if you practice diligently. When I started learning Chinese calligraphy, I practiced hard with only one brush for one style. I did not know how to take care of it by washing it properly. And of course, I did not know any theories or principles of operating a brush. All I knew were some basic rules my teacher taught me. So I ended up changing a brush every year.

As I grew up, I eventually began to have a better habit of writing. So it seemed that my brushes lasted longer than when I was in grade school. And then in high school when I made up my mind to practice really hard, I used only one "all-around" brush (Jian Hao 兼毫 ) to practice all styles I knew. Eventually it lasted shorter than any brush I had.

Then as I knew more and more about the theories, operating principles, and styles, my brushes I bought since 1990 are still in excellent conditions. None of them are short-lived again! (I do prefer some of them and dislike some of them.) Since I know the proper operation and maintenance of brushes, I no longer worry that they will wear out soon. I do believe they will last lifetime or at least decades. Even though some of them are wearing out at the tip a little bit due to frequent practice, I can still use those as featured brushes to write other styles with a desirable effect or explore and experiment different possibilities.

Unless a brush is made low grade, I will say a brush should last lifetime if we know how to respect it and apply the Center Tip Principle ( 中鋒 ). I suggest washing every time right after every practice – gently and respectfully.

Seals & Signatures

Most people think a Chinese calligraphy or painting work should be signed and stamped with seals, at least to prevent future holders to sign it.

The writing of a Chinese calligraphy work is the "main content" of the work itself. The signature and seals personalize the work. The framing is for display and preservation purposes. We may think of the main content as the host; the signature and seals as the guests; and the framing or mounting as a hall or a house. A perfect party will consist a noble host, decent guests, and a majestic hall. A good Chinese calligraphy work will be more valuable if it can meet the above three conditions.

However, the main content is the most important and the signature and seals are the most critical. We may consider having an outdoor party with good programs, host, and visitors without staying in a building. But if we invite vulgar guests to the party, the main event will be totally ruined. It's recommended that a good Chinese calligraphy work be framed or mounted. If the framing job is lousy or vulgar, it will totally devalue the entire work no matter how great the calligraphy and seals are. If the mounting and (or) the seals exceed the main content in artistic levels, they will add more value to the calligraphy work. However, if either the mounting or the seals are not good enough to match the calligrapher's level, that work will absolutely be demeaned.

Similarly, if a Chinese painting work contains a poem written in nice calligraphy and is stamped with nice seals, it's the "perfect" combination of Chinese calligraphy, painting, seals, and literature. (That's why Chinese calligraphy, painting, and seal making are sister arts.) But if any one of the three add-ons (calligraphy, seal, or poem) is below the painter's level a lot, it will ruin the whole work no matter how great the painting is!

In early dynasties like Han, the Chinese calligraphers did not care about personalizing their works. In fact, most of the best masterpieces remained anonymous. The original artists realized the cosmic harmony existed in the universe and was not created or personally owned by the artists individually. And they cared for the level of art more than personal recognition. This great philosophy is different from modern and Western way of personalizing an artwork. I was once asked by people who do not know Chinese culture, philosophy, and calligraphy about leaving a Chinese painting or calligraphy work "anonymous." They doubt that if a Chinese painter or calligrapher does not sign his / her work, later it may be possessed by someone who signs it and sold for higher prices! (What a joke and honor! Once when a famous Chinese painter found out there were more fake imitations of his works than his own works in number, he said, "it's plausible to create fake imitations or duplicates of a deceased master, but I am still alive." ) That "someone" must possess at least the same artistic and moral levels of the original artist in order to sign a painting or calligraphy work without totally destroying its value. "Someone" who has reached a high level, of course, need not sign other's works -- they can create their own good works! So if a Chinese painting or calligraphy work is good and anonymous, the original artist must have realized the ancient philosophy of "Not Possessing" even though it may not be compatible with today's business concepts.

印章的種類

Kinds of Seals

名章 (Name Seals)

名章泛指作者姓名、字號等代表作者身份的印章，用于作者落款之后。一幅作品有兩方以上名章時要有陰陽變化，且大小最好相近，間隔至少一個章的空位。名章有時也可作手章使用，因其意義比較嚴肅，固以方形為主。
Name Seals represent the artist's names (family and / or given names) and style names. Each Chinese calligrapher, painter, or poet ... may have more than one style names. The name seals are stamped below the poem and signature in a painting or calligraphy work. If there are two or more name seals in a work, a balance of Ying and Yang needs to be considered; the sizes of the seals need to be similar; the distance between seals need to be at least the size of one of the seals stamped. Name Seals can also be used as "Hand Seals." Name Seals are usually square in shape because they have more serious meaning for art.

閑章 (Mood Seals, literally Leisure Seals)

閑章是為了豐富畫面、完善構圖而用的章。內容多為與作者的喜好、作品的內容有關的詞句或形象(如座右銘、作畫時間、作畫時的心情、作品的寓意等)。根據用印的位置又可將閑章分為三類：
Mood Seals enriches the whole view of a work. It can be decorative and bring balance to the whole work. The contents of mood seals are mostly related to the artist's taste, preference, the main content of the work in regarding to phrases or images, the time, year, and mood when the work is created, the implied meaning of the work, and etc.

Mood Seals can be further categorized into the following types according to the location where they are stamped on a work:

1. 引首章 (Leading Seals)：用于作品的右上方，與落款相呼應，又與畫面融為一體，因此多以自然形為主。
The leading seals are usually placed at the top right corner of a work. It can be coordinated with the Signature and Name Seals. It will also bring "wholeness" to the painting. They have shapes like rectangle, oval, and etc. that look more natural.

2. 壓角章 (Corner Seals)：用于作品下方的一個角上，起降低畫面重心、穩定畫面的作用，以方形或長方形為主。
The Corner Seals are usually stamped on the corner near the bottom of the work. They can lower the weight percentage of the whole work for balance. Their shapes are mainly square or rectangle.

3. 腰章 (Connecting Seals, literally Waist Seals)：作品中間部位所用章。比較長的作品，視覺上的首尾不能相及，用一腰章能起到連接首尾的作用，多用長條或隨形章。
The Connecting Seals are usually stamped near the middle of the work or between different sections of the work. A longer or larger work somewhat looks disconnected from the start to the end. If the Connecting Seal(s) can be used properly, they can make the whole work more connected. They are mainly in the shape of rectangular bar or in any other shapes.

收藏章 (Collector's Seals)：用于書籍等私人收藏。方形、圓形都可，偶爾也有隨形，印面要小，以免造成對藏品的破壞。
The Collector's Seals are for private collections of books and artworks. They can be in any shape like rectangle, round, and etc.

手章 (Hand Seals)：指簽署文件、契約等用的私人印信，章面要小，字體要規範。
The Hand Seals are stamped after the signature for documents and contracts. The calligraphy on the Hand Seals are usually more standardized.

The signatures and seal stamps on Chinese painting and calligraphy works follow strict norms and traditions. If they are violated, a work will be mocked or demeaned because it is considered ignorant and impolite. It is sad that the majority of calligraphers and painters today seem to neglect those norms.

一般書畫家，差不多都有一些自用的印章，有姓名印、齋館印、別號印、里氏印、詩詞印、吉語印或啟事印等，這些印如果用的不得當，不但不能為書畫增色，且可招致笑談，所以用印不可不慎。

古人用印都有法度，凡晚輩或屬下致書於尊長的，都用姓名印，平輩相交用字印，尊長與晚輩方可用道號印。用於詩文書畫，如僅用一印，則用姓名印；如用兩印，則姓名印在上、字印在下；用三四印，則姓名印第一、字印第二、道號印第三、齋館印第四。因為先有姓名，再有字、號、齋館，所以不能先後倒置。

用印時，如用兩方印，古法是白文與白文合用、朱文與朱文合用，近世則朱白文合用，普通為白文印在上、朱文印在下，有名有字，即為對章。在畫幅中用印時，尤需注意印之距離與高低，如寫七言的對聯，下聯落款宜在第三字與第四字之間，而用印則應視款字的大小而定，若印為一寸大小，用兩方印時，兩方印相距應一寸左右，過遠過近均不甚雅。如寫一幀單條，則落款必須在主文左下方，但不可太靠下方，不然，與主文平腳，則印無法鈐蓋，即使留有一印之空白，將印鈐蓋其上，亦必不適宜。書畫落款固然重要，而鈐印則視款之高低而定，如落款不小心，過於低落，可以把印鈐在姓名左邊，使豔紅的顏色，襯於黧黑之中，便可反俗為雅。

印之大小，總以較款字稍小為合度，若大於款書，則有喧賓奪主之勢；又有聯珠印，刻二小印，中有距離而印身相連，若倒凹字形，可用於扇箑及小形書畫。此事雖無定法，但多看古人書畫，即可了然於心。

書畫上用的閑章多為詩文印、齋館印，方的、長的、自然形的都有，長方的或橢圓的以及自然形的，可以作為「引首章」用。所謂引首，用於書幅開始或畫幅題字的起首第一字或第一二字之間，視幅度的長短、印章的大小稍有高低，但總在開首部份。詩詞文句印、齋館印、吉語印乃至肖形印，不論方的、圓的、自然形的，如果形狀較大，均可以用於書件的右下角、畫件的左右下角，謂之「押角章」。押角必須書畫件的角落有空白之餘地，襯上一方紅色印章，使之更為生色，但鈐蓋的位置不可太低，低則有侷促之感，應離書畫件之邊角有適當距離，視印之大小與書畫件大小而定。個別欣賞印章是一種藝術品；配合書畫的印章又是另一種深刻的情味。顏色的對比、空間的安排，醞釀著雋永可感的美，「篆刻藝術」就這樣把美感的層次，提昇到更高的境界。

(摘自王北岳先生的篆刻藝術)

用印題款的忌諱

Taboos of Signatures & Pressing Seals on Chinese Calligraphy & Painting Works

書畫上落款蓋印，印比字大不可以。大幅蓋大印，小幅蓋小印，理所當然。

國畫直幅落款字下蓋印，直下底角，不可再蓋壓角閑章。如右上落款，左下角可蓋閑章，左上落款，右下角可蓋閑章。如上款字印接近下角，閑章就不需蓋了。

國畫棋幅落款，左右兩頭角邊，不可蓋閑章。右上落款，左下角可蓋方形閑章，左下落款，右下角可蓋方形閑章。此處如不需要蓋閑章，而勉強蓋上，反而弄巧成拙。

長方形，圓形，長圓形閑章，爾不可蓋在下角方形壓角閑章處之地位。方形閑章，不可蓋在書畫上端空白處，就喧賓奪主了。

國畫直幅落款，字行末行末字，與他行字長短，不可整齊，蓋印亦如此。

蓋二印，一方形，一圓形，不可匹配。同形印可匹配。

蓋二印，一大一小，不可匹配。同樣大小可匹配。

蓋二印，一長方形，一橢圓形，不可匹配。同形印可匹配。

蓋二印，上陽文，下陰文，不可匹配，。而上陰下陽可匹配。

蓋二印，上陽文，下陽文，不可匹配。而上陰下陽可匹配。

蓋二印，上陰文，下陰文，不可匹配。而上陰下陽可匹配。

落款蓋印之下，不可再題字，。印章上下有字掣肘，就失去自然現象。

已經落款蓋印字畫，款後不可再落上款贈人，就失敬了。

花頭，鳥尾，樹枝，山頂上，不可落款蓋印。這是畫家最起碼的常識，不可不懂。

匠刻印章，不可用於書畫上，需用藝術篆刻家，所刻石章最佳。

普通印，不適用於書畫上，要用八寶印泥。

蓋二印，距離不可太遠太近，相隔一個印距離正好。

蓋二印，印文，章法，刀法各異，不可匹配。要用相同刀法所刻印章。

畫上不可題打油詩，一來識者奚，落二來作品就貶為低俗。

上款上端不可蓋閑章，壓在人名頭上，人家很忌諱。一來失禮，二來破壞了畫面。

蓋壓角閑章，不可太小，宣紙四開，用方形石印，大約三公分，比較適合。

蓋壓角閑章，不可蓋二方上，一方正好。印與邊距離約一.五公分為適合。

落款字下不蓋印，而偏要蓋在款字左右，脫離字行，而成畫外物，特殊情形例外。

書畫上，不可蓋上劈頭大印，破壞美麗的畫面。

小畫不可題大字，大畫不可題小字。小空不可題字多，大空不可題字少。

書畫上姓名印，不可連蓋三印以上，應蓋二印，或一印妥當。

書畫上下左右，不可任意蓋印。蓋多不當，不如少蓋，印章印泥不佳，倒不如不蓋好。

蓋二印，不可東倒西歪，如何蓋法，用力輕重，印章印泥保養，一切要潛心研究，是不可忽視的問題。

書法四聯首幅，右上可蓋印首小長形章，其餘不可蓋。

The following sources provide excellent articles and examples for signatures and seals.

Erasure

"Erasure is an unacceptable mistake: If we do this, our work won’t be accepted or sold."

Ancient calligraphers did not care so much about erasing or covering a wrong character with a right one. They did this naturally and the work looked even more enlivened. While in our modern time, if any Chinese calligraphy stroke is covered with another one, the work will probably never win a trophy or be sold. "Erasure" (or covering one stroke or character with another stroke or character) as shown in the following example is totally different from "amending" (repeating a stroke.) While "amending" or repeating a Chinese calligraphy stroke is considered a camouflage and dishonest, "erasure" is considered a change of content. ("Erasure" here does not mean to scratch off the strokes or characters to be changed.) "Erasure" does not violate the rule that the brush writing should come directly from one's mind and real skill. While an amended brush stroke can be easily told by experts because it shows evidences of inconsistent ink densities, "erasure" honestly tells the viewers that the "contents" of the calligraphy has been changed and it's not related to one's brush stroke skills.

"Lang Ting Prologue" is the most famous Chinese calligraphy work. It contains more erasures than most other works! The erasures here are to change the content of the article, not to amend the calligraphy strokes. Amending strokes is not permissible for an honest calligrapher and anyone who practices Chinese calligraphy.

Another famous work full of "erasures" was written by Yen Jen-Chin in lamentation of his nephew being killed in a military riot. When he was writing this article, he was so sad about his nephew's death and had no intent to make it an artistic calligraphy work. However, this work is generally considered the "second best" Walking Style calligraphy throughout the history of China! (Second only to the Lang Ting Prologue.) Viewers may feel his emotional intensity through his masculine, determined, agitated yet skillful brush strokes. While some beginners may think this work is full of mess and erasures and question why it is being collected in the National Palace of Museum in Taipei, the Chinese people look for the spirit and intrinsic substance over the extrinsic forms and neatness in a masterful work like this.

Size of Calligraphy	Write Neatly	Fast Writing
Content of Calligraphy	Clear Models	Life of A Brush
Seals & Signatures	Erasure	To Be Added