This entry started out with the question: Why are there DIFFERENT SCHOOLS of CHINESE CALLIGRAPHY? Does any calligrapher write in SIMPLIFIED CHINESE?
While Traditional Chinese characters hold a prominent place in the practice of calligraphy due to their historical roots and aesthetic richness, Simplified Chinese characters are also used by some calligraphers, particularly in settings or regions where Simplified Chinese is the norm. The beauty of Chinese calligraphy lies in the skill of the calligrapher and their ability to convey emotion and artistic expression through the strokes of the characters, regardless of the script style.
- Artistic Preference: Many calligraphers, especially those focusing on classical styles, prefer Traditional characters due to their complexity and the aesthetic depth they offer. Traditional characters allow for a greater expression of artistic skill and are deeply connected to the historical and cultural heritage of Chinese calligraphy.
- Simplified Characters in Calligraphy: While Traditional characters are more commonly associated with the art form, Simplified Chinese characters are also used in calligraphy, especially in contexts where the audience is more familiar with Simplified Chinese. There are calligraphers in mainland China who practice their art using Simplified characters, and there are artistic explorations and educational materials in calligraphy that utilize them.
- Contextual Use: The choice between Traditional and Simplified characters often depends on the audience, the calligrapher's personal preference, and the historical or cultural context of the work. For instance, calligraphic works intended for a mainland Chinese audience or for educational purposes in regions that use Simplified characters might be more likely to feature Simplified script.
But I come to realise, prompted by Karl below, the more pertinent question is how is Chinese Calligraphy a form of meditative exercise...
Chinese calligraphy is more like a physical exercise because it involves the whole body in a disciplined practice that enhances physical control, mental focus, and emotional well-being. It's a holistic activity that nourishes the mind, body, and spirit, paralleling many forms of physical exercise that aim to achieve the same balance.
Chinese calligraphy is often likened to physical exercise due to the comprehensive engagement and coordination it requires from the body and mind. This art form is not only about the visual outcome but also about the process, embodying principles that resonate with physical and mental discipline. It requires:
1. Posture and Body Alignment
- Practicing Chinese calligraphy requires proper posture and control over one's body alignment. The calligrapher must sit or stand in a way that allows for smooth, unobstructed movement of the arm and wrist. This posture is maintained over extended periods, similar to how certain physical exercises require specific stances for effectiveness and to prevent injury.
2. Hand-Eye Coordination
- Like many physical activities that require precise coordination between seeing and moving, calligraphy demands acute hand-eye coordination. The calligrapher must translate visualized strokes into physical motion with accuracy and intention.
3. Fine Motor Skills and Control
- The practice of calligraphy involves controlling brush movements with finesse to produce strokes of varying thickness, direction, and speed. This control is akin to the fine motor skill development seen in certain sports or musical instrument playing, where nuanced movements determine the quality of the performance.
4. Breath Control
- Breath control is an essential aspect of Chinese calligraphy, much as it is in many forms of physical exercise. The rhythm of one's breath can influence brush movements, helping to achieve a meditative state that aligns with the flow of the strokes. In some traditions, calligraphers are taught to coordinate their breathing with brush movements to enhance concentration and fluidity.
5. Mental Focus and Discipline
- The practice of calligraphy requires a high level of mental focus and discipline, similar to that needed in martial arts or yoga. Calligraphers often describe entering a state of mindfulness where distractions are minimized, and the mind is fully engaged in the act of writing. This mental aspect is a significant part of why calligraphy can be seen as a form of physical exercise, as it trains both the body and the mind.
6. Stamina and Endurance
- Producing a piece of calligraphy, especially on a large scale, can be physically demanding and requires stamina. The continuous practice builds endurance, both for the specific muscles involved in writing and for the calligrapher's overall concentration and ability to maintain control over longer sessions.
7. Therapeutic Effects
- Just as physical exercise is known for its health benefits, including stress reduction and improved mental health, calligraphy offers similar therapeutic effects. The concentration and calmness required can reduce stress levels and promote a sense of well-being.
Dear Dr. Tieu-Tieu Le Phung,
You may want to look over following useful information presented below:
Chinese calligraphy has a rich and diverse tradition, and different schools of Chinese calligraphy have developed over centuries, each with its own distinct style, techniques, and characteristics. The main reason for the existence of different schools is the historical and cultural evolution of Chinese calligraphy, influenced by various factors such as regional differences, individual artists, historical periods, and stylistic preferences.
Here are some prominent schools of Chinese calligraphy:
As for the use of simplified Chinese characters in calligraphy, it's important to note that the distinction between simplified and traditional characters primarily pertains to the writing system, not necessarily the artistic styles of calligraphy. Calligraphy can be executed in either simplified or traditional characters, depending on the preference of the calligrapher.
Many contemporary calligraphers write in simplified Chinese, especially as the use of simplified characters has become more widespread in modern China. However, some calligraphers may choose to use traditional characters, and the choice may be influenced by personal preference, the nature of the work, or the intended audience.
In summary, the existence of different schools of Chinese calligraphy is a reflection of the rich and varied history of this art form, and calligraphers may choose to write in either simplified or traditional Chinese characters based on their individual preferences and the context of their work.
Thanks Len Leonid Mizrah for your answer. If one spends a lifetime perfecting one´s style, it seems impure to me should one uses Simplified Chinese.
Tieu-Tieu Le Phung Why impure? Think of comparisons with the fine arts, broadly construed. In each domain, minimalism is a worthy endeavor, subject to its own standards of elegance, articulation, communicativeness, coherence, beauty, sophistication, refinement, novelty, or other aesthetic virtues.
https://en.wikipedia.org/wiki/Fine_art
Hi Karl Pfeifer I think simplified Chinese has reduced a lot of the symbolic depth and breadth. It also taxes one's memory because one is always making the conversion back to complex characters.
Take the Chinese character Guo, if you asked me there's a meaning change in the simplication
Chinese symbol: 國, 国, nation, state, country, Guo, Kuo, Kwok, Chinese surname
https://www.chinese-word.com/data/0797.html
Easy Chinese Characters - 国(guó)
https://www.newconceptmandarin.com/learn-chinese-blog/easy-chinese-characters-guo/
Tieu-Tieu Le Phung You're thinking in merely functional, typographical, or cursive terms. In fact you even made your point without using calligraphy but with characters in a standard typeface. I regard calligraphy as encompassing artforms where poetic licence is permissible. I guess in Westerm terms, some Chinese calligraphy belongs to the genre of "visual poetry".
- https://en.wikipedia.org/wiki/Visual_poetry
Pierre Ryckmans book Hall of Uselessness has an enchanting section on practising calligraphy Karl Pfeifer . I would instead say it's physical poetic meditation because so much depends on how one moves. Rice paper is the most unforgiving medium. The more one practise, the more one can be spontaneous.
Tieu-Tieu Le Phung I've just acquired an epub edition of Hall of Uselessness (you should've mentioned that Pierre Ryckmans publishes under the name of Simon Leys!). It looks like an altogether interesting book. The chapter on calligraphy ("One More Art") is actually a review of The Chinese Art of Writing by Jean Francois Billeter, which unfortunately appears not to be available online. Here is a related interesting commentary that references Billeter:
https://asiasociety.org/education/chinese-calligraphy
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