Principles of Chinese Calligraphy

Emulation of Chinese calligraphy masterpieces is somewhat similar to martial artists doing forms and learning from their masters. The forms or masterpieces are the prototype for learning and a self-correcting path that should be observed throughout the entire life of an artist. There is absolutely no exception in Chinese calligraphy. All the masters of Chinese calligraphy are lifetime students of Lin Mo.

All great Chinese calligraphers went through a long time in their life emulating previous calligraphers’ works. This might take up to 20 to 50 years. Have we ever bought a Form Book (or Copy Book) or a masterpiece accomplished by a calligrapher before age 35? Not in Chinese history! All of Wang Hsi-Chi’s masterpieces we see today were done after he reached 40. The other calligraphers left us a huge treasure of masterpieces that were all done after 40 years of age, mostly during 45 to 65 years old in which this period was considered to be the prime. All of these depend on the artist’s skill level, insight, knowledge in all fields, moral standards, and spiritual growth. There is absolutely no shortcut in learning Chinese calligraphy and emulating masterpieces is indispensable to become a good Chinese calligrapher.

The processes of learning Chinese calligraphy can generally be summarized into four stages:

The Chinese term “Lin Mo 臨摹 ” actually contains two processes: “Lin 臨” and “Mo 摹.” “Lin” means to observe the writings in a Copy Book, masterpiece, or teachers' writings and then transfer onto the paper during practice. “Mo” means to trace other’s writings and then fill up the trace. Today the two processes may be used to refer to practicing or copying a calligrapher’s work.

Zhang Chih ( 張芝 ) used to practice “Lin Mo” and calligraphy by a pond. He washed his brushes and ink stone there and the pond became all black. Later calligraphers like Wang Hsi-Chih may have followed this tradition by practicing calligraphy near a pond or a river. So “Lin Mo” is also called “Lin Tsu 臨池 ” ("Tsu" means a pond.)

Lin Mo is not just copying or mimicking the shape, position, and structure of each character in a calligraphy work. It has many, many levels of meanings and applications. The deepest level is to inherit the spirit and soul of the work, not just the appearance. Thus I prefer to use “emulation” and “Form Books” instead of "copy" and "Copy Books" as translated in most English resources about Chinese calligraphy for the practice of Lin Mo. According to American Heritage Dictionary, "emulate" is explained as "to strive to equal or excel, especially through immitation." Lin Mo is, indeed, trying to immitate the original masterpieces in appearance and spirit to be equal to and to exceed one self not only in art but aslo in one's whole being.

For a beginner, Lin Mo can be done with a trace sheet “Miao Huong 描紅 .” Besides filling in the blanks for each stroke, the students also have to pay attention to the operating techniques mentioned in "Principles of Operating A Brush" and "Center Tip Theory." Otherwise, Miao Huong is just copycat, not practice.

Nowadays students focus more on “Lin” so the “Mo” process has been neglected. The following are some trace sheets I created for practice using a scanner and a computer. They are more convenient and help us better position each stroke correctly. By using “Lin” and “Mo” interchangeably, we can make more progress than just using “Lin.” "Mo" sometimes help the student "feel directly" the original master's emotion better than "Lin."

Most Chinese calligraphers agree that there are two ways or stages of Lin Mo. The first way ( 臨形 ) is to focus on the shape of structure and position of strokes of every character. The practitioner tries to mimic the appearance and then the spirit will show. If one focuses too much on appearance, he will lose the essence and spirit. The second way ( 意臨 ) is to focus on inheriting the spirit but not the appearance. A Lin Mo work using the second method may look similar in spirit but not necessarily similar in appearance.

For the first method, we have to analyze the characteristics of the work before we start. If we just grab a brush and paper and start mimicking, this will not help us make progress. The first step in practicing Chinese calligraphy is not the brush or hand. It’s the mental – emptying one’s mind. That’s why it’s also called Heart Painting ( 心畫 ). For musicians, before they start playing, they have to discern the characteristics of a composition. Be it happy, romantic, heroic, spirited, melancholy… So a musician won’t play a Chopin nocturne as a heroic Beethoven symphony.

Correct interpretation of an artwork is as important as the creating process. In Lin Mo, try to ask in our heart honestly and thoroughly the following basic questions and our goal will be clear.

臨形步驟
1.各書體法帖皆有不同筆法，宜先練習各體基本筆法。
2.其次再臨字，臨字宜注意掌控下述條件：
· 字之大小         字之大小(喻色)佔格子面積(喻空)的比例,即(色／空)之多寡。
· 字之造形         字之縱橫長之比例分扁、方、長形
· 筆劃之粗細       筆劃線條粗與細之比例
· 重心干衡之方法   平衡度之多寡
· 疏密度之張力     密聚與疏散的比例
· 氣勢

臨帖分臨形與臨意
臨形者易著於形相之記憶中練筆法。
臨意者在神，不在形，故不易著相。
臨字如念經，念經在會義不在經文，臨字要在會其神意，不執著在形狀，得「意」而忘「形」，

悟「理」而遺「文」，猶得魚而忘筌也。惟無書法根基者，初學仍應由臨形入手為宜。

The second way of Lin Mo is inheriting the spirit of the work, not the appearance. It’s called “Yi Lin 意臨 .” Yi means mind or intention. It’s a very dangerous stage of practicing. One might end up worthless if he is overly self biased and not having enough self awareness!

Yi Lin is a more metaphysical method than the first method. However, without going through a long Lin Mo process with the first method, no one can inherit and match the spirit and essence of the original work with the second method. The first method sets the standard “as is” and the second method focuses on “substance over form.” Without the essential forms we cannot create substance – there will be substance over nothing and it’s not even substance – it’s just ego and self-indulgence and obsession.

When a Chinese calligraphy student is doing Lin Mo practice, one has to realize that a good musician interprets a composer’s work with his / her sincerity, fidelity, and then insight. If an instrumentalist can do “full justice” to a composition, s/he may add what s/he intends to impress the audience – only after s/he has done “full justice.” A “full justice” attitude in Lin Mo means that the student needs to “duplicate the original masterpieces” to the greatest extent and nuances. If you choose to be serious about Chinese calligraphy, you may remember almost all ancient master calligraphers like Wang Hsi-Chih and Mi Fu could “duplicate” the original masterpieces so well that the average viewers could not distinguish the difference.

Nowadays many calligraphers publish albums of their own works and emulated works. Some of their emulated works contain no substance, form, appearance or even basic Chinese calligraphy principles. Some even publish books that say those masterpieces (“Fa Te 法怗 ”, Fa means method, Te means Form Books or masterpieces) are not the end, just the process – and this is true. Almost any forms of art emphasize on creating a personal style. So does Chinese calligraphy. But without humbling and emptying one self, no one can inherit the true essence of Chinese calligraphy and then create an elegant style that is accepted by serious artists. Without learning, anyone can do what s/he intends and no one will appreciate each other’s work. However, not all of preexisting norms set by ancient masters can rule forever. Some can be revolutionized and changed boldly only by later artists who have matured in their skills, mentality, moral, and insights.

The following anecdote in Chinese and English may give us a hint as how a serious Chinese calligraphy student can spend his / her effort in the Lin Mo practices. The phenomenon of "synesthesia" is a realm of scientific study.

孔子學琴

孔子是我國春秋時期偉大的政治家、思想家和教育家。他也喜歡唱歌、作曲，還能鼓瑟、彈琴，會彈奏好幾種樂器。有一段時間，孔子跟魯國的樂師師襄子學彈七弦琴。

這一天，師襄子教完了一支樂曲，要他獨自練習十天，然后再教新曲。可是十天過去了，孔子仍然埋頭苦練老曲子，似乎把學新曲的事忘記了。師襄子提醒他說：“你已經把這首曲子彈熟了，可以另學新曲了。”孔子卻說：“不行啊，我只是剛剛把音律彈熟，技法還很生疏哩！”

又過了幾天，師襄子說：“你的技法熟練了，可以學新曲了。”不料孔子又說：“不行啊！我還沒有明白它的內容呢！這不能說是真會。”于是又埋頭彈起來。

再過了好幾天，師襄子又提醒他說：“好啦，你不僅熟悉了它的音律、技法，連它的內容也明白了，可以彈新曲子了！”孔子仍然搖頭說：“不行呀，我依然算不得真會，我還沒有體會到作曲者的為人呢！”

師襄子覺得言之有理，也就不再催促他練新曲了，只是耐心的等待著。

時間又過去了好幾天。這一天，孔子正埋頭彈琴，彈著，彈著，忽然抬起頭來兩眼閃爍著喜悅的光芒。他對師襄子說：“好啦，我知道作曲家是怎樣一個人了！這個人高高的個子，黑黝黝的臉，眼睛炯炯有神，是個具有王者氣質的人。莫非這曲子是周文王所作？我想除了他，別人是作不出這樣好的曲子來的！”

師襄子不禁大驚，恍然醒悟道：“若不是你今天這一說，我倒把這一切都忘記了。是呀，很久以前，我的老師曾經對我說過這首曲子叫《文王操》，它的作者是周文王。”

師襄子對孔子佩服不已，身不由己地躬身相拜。孔子急忙回禮，說：“我現在可以學彈新曲了！”

Confucius Studies the Qin
(Adapted from www.chineseguqin.com)

Confucius lived during the Spring and Autumn Periods and was a great statesman, educator, and thinker. He liked singing, music composition. He also could play the drums, Chinese zither and several other musical instruments. For a period of time, Confucius studied the seven-string Qin (musical instrument) with Lu Country's musician Shi-Hsian Tzu.

One day, Shi-Hsian Tzu taught him a tune and wanted him to practice alone and then teach him a new tune afterwards. Ten days later Confucius still practiced so diligently the first tune that he forgot to study the new tune. Shi-Hsian Tzu reminded him of this and said: "Your have perfected the first tune I gave you and therefore I gave you a new tune to study." Confucius replied: "I am not good at it. I barely understand its meaning and my technique is not polished!”

Several days later, Shi-Hsian Tzu said: "Your technique is excellent; therefore, I give you a new tune to study.” Confucius interrupted and said: "It is not good! I have not understood its content! I cannot say that I understand its meaning." Confucius started to practice hard again.

Several more days passed and Shi-Hsian Tzu pointed out to Confucius: “Your execution of the song is good. You not only have understood its mood, the technique and its intent. Therefore I approve that you learn a new song.” Confucius still shook the head said: “It’s still not good enough. I still think that I have not understood its meaning and I have not understood the composer’s personality!"

Shi-Hsian Tzu understood that there was more to be learned from the song and henceforth did not press Confucius and decided to be patient and wait.

Several more days passed. One day, while Confucius earnestly practiced on his instrument, his music was like golden rays of sunshine. Confucius then said to Shi-Hsian Tzu: "Now I understand and know the composer! He is a noble and highly educated person. I can see he has a shiny, dark complexion and shinning bright eyes. He has a regal bearing as if he is a king! Is it possible that this is a song written by King Wen ( 文王 ) in the Zhou Dynasty? I want no other compositions unless they are from him. The other compositions are bound to be wonderful songs, too!"

Shi-Hsian Tzu was unable to restrain his joy and with great surprise shouted: "If it wasn’t for your keen insight, I probably would have forgotten this. Yes! Long, long time ago, my teacher said to me: “This song is called "Chant of King Wen" and the composer was the King Wen"

Shi-Hsian Tzu, who did not previously admire Confucius bowed to him without reservation. Confucius rushed to say: “Now I must not delay to study a new tune!"

For those calligraphers that don’t appreciate the value of ancient masterpieces, they cannot do a good emulation work – not in strokes, character structures, and spirit. Oftentimes they will try to publish or talk like that they are using the second method (“Yi Lin”) to inherit the spirit instead of the appearance to disguise those who have never learned calligraphy and lie to themselves. Woe!

For calligraphers with a little bit more awareness and appreciation, they will try to insert their own preferences or formulas into each stroke of a character that has different styles, spirit, appearance, structure, or operating methods. And they still proclaim they have gone through the first process and are using the second method to inherit the spirit rather than the appearance. For example, this group will typically insert Tang Kai strokes in emulating Wei Bei Kai Style. Those two styles are totally different in spirit and essence. (Please refer to Resurrection of Wei Bei in the “Kai Style” section.)

For calligraphers with better awareness and appreciation than those two groups above, they know they should avoid the mistakes by those groups but they cannot get rid of them at first– they are struggling. At least they are struggling for the right path but cannot find a way. As they realize their imperfection and deficiency, they are heading for a higher level of art. They keep searching the Way in life and practice and keep growing. They realize that they can never reach the perfect level of ancient Chinese calligraphy masters. The more they realize this, the more they become humble and reach a higher level. And finally their creation of personal styles will be regarded seriously and remembered.

In all stages of Lin Mo, serious calligraphers will constantly ask themselves “How much Yi (mind) of themselves is close to the original masterpieces?” They will also continuously remind themselves “Don’t let Yi Lin be an excuse to neglect the shape, structure, nuances and details of the original.” If we are not aware of these questions, practice can destroy its purpose and lead us astray without self-awareness. A lot of Chinese calligraphers adopt the famous saying “Form Books are just a way, not an end of methodology” ( 法帖只是法門, 非法海也 ) as a self-defense and disguise for their lack of Lin Mo achievements. Please don’t use this famous saying to cover our inner deficiency.

A failure stroke “Bai Be 敗筆 ” is one that is not satisfactory or desired. It is a disaster or accident due to negligence, incompetence, rush or mindlessness.

To avoid a failure stroke, we must not make indecisive strokes – not knowing how we are going to write the strokes and where they are leading to. So mental preparation plays an indispensable role in executing a successful stroke.

Every musician plays wrong notes in his or her lifetime. And even master calligraphers sometimes render a failure stroke. Some failure strokes may be forgiven; some will destroy the whole work depending on the severity. Amending a failure stroke (“Miao 描 ”) is considered cheating in Chinese calligraphy. It’s forbidden for all students and calligraphers. It’s a stumbling block to progress and success. If we make some failure strokes, accept the fact and continue the work. Start over next time and pay more attention by focusing more deeply. Or we can practice that specific stroke over and over again to avoid reoccurrence.

In contrast to Western calligraphy, dry brush strokes are viewed as a natural impromptu expression rather than a fault or failure stroke. While Western calligraphy usually pursue font-like uniformity, homogeneity of characters in one size is considered only a craft in Chinese calligraphy.

P9: The Emulating Process “Lin Mo 臨 摹 ”

P9: The Emulating Process “Lin Mo 臨摹 ”