CHINESE CALLIGRAPHY

中国の書道

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Chinese calligraphy is an art unique to traditional Chinese cultures. As the art of writing Chinese characters, Chinese calligraphy, is closely related to the latter in its
formation and development, boasting as long a history as that of China itself. In the long Chinese history there are five basic styles of calligraphy: seal script(篆書),
official script(隸書), cursive script(草書), semi-cursive script(行書), regular script(楷書). It is one of the highest forms of Chinese art, serving the purpose of
conveying thoughts while also showcasing abstract beauty of lines. Regarded as the most abstract and sublime form of art in Chinese culture, calligraphy is often
thought to be most revealing of one's personality. By controlling the concentration of ink, the thickness and absorptivity of the paper, and the flexibility of the brush,
the artist is free to produce an infinite variety of styles and forms. In calligraphy, a variety of lines are used when they are straight or curved, hard or soft, thick or thin,
pale or dark, and the ink may be dry or running, different lines give different subjects, different purposes and different personalities. The use of lines and strokes
creates unique qualities of calligraphy. To the artist, calligraphy is a mental exercise that coordinates the mind and the body to choose the best styling in expressing
the content of the passage. It is a most relaxing yet highly disciplined exercise indeed for one's physical and spiritual well being. There is the historical development
of Chinese calligraphy below.

Shell Bone Script Qin Seal Script Seal Script(篆書）

（甲骨文） （秦篆）

Ancient Official Script Official Script(隷書)

(古隷)
Cursive Script(草書） Japanese Hiragana
(日本の平仮名)
Semi-Cursive Script(行書）

Regular Script(楷書） Japanese Katakana

(日本の片仮名)

Historical Development of Calligraphy

 Seal Script Official Script

Cursive Script Semi-cursive Script

Regular Script
The Six Dynasties (AD220–589) were the important and disjunctive stage of the evolution of the style of Chinese calligraphy and a period when various fonts tended to be perfect. The
prosperity of the official script in Western Han Dynasty determined the basic morphological characters in square shape. The cursive script, regular script and semi-cursive script were finalized
in the Six Dynasties which was undoubtedly another huge transformation in the history of Chinese calligraphy, having far-reaching influence in the history of Chinese calligraphy. Wang
Xizhi, who was hailed as “the greatest calligraphy master” in many Asian countries, set up the model for beauty of regular script, semi-cursive script and cursive script, which had
continuously influenced the subsequent generations of China and other Asian countries.

Wang Xizhi (Wade-Giles: Wang Hsi-chih; Chinese:王羲之)(303-361), was born in Shandong Province. He served as a
general and an imperial officer in the Jin Dynasty. In the history of China, he was regarded as the “Sage of
Calligraphy”(書聖), It is said that he created about 1,000 calligraphic works in his life, but none of them survived till
now. Today the works we can see are copies. In calligraphy, he study theory and created a new natural and free style, with
cut-off but continuous strokes. Wang Xizhi’s new style was a milestone in Chinese calligraphic history, and his works and
thoughts of calligraphy have been influencing calligraphers for long.

Wang was born in a family of calligraphy, whose uncles and cousins were all famous calligraphers of their time. At the
age of seven, Wang began to study calligraphy under a female calligrapher-Wei Shuo(衛鑠). He kept copying the
Wei-style calligraphy for five years and learned much from the works of previous calligraphers, including Zhong Yao(鍾
繇), Zhang Zhi(張芝) and Li Si(李斯). In order to practice calligraphy, he spent lots lot his time to find the works of
previous dynasties and copy them. He visited many famous mountains, and met lots of calligraphers and study stele
inscriptions. Because of his effort and talent, after some years, he was famous at that time.
Wang Xizhi was great calligrapher at many types but his semi-cursive script Preface to the Collection of Orchid Pavilion Poems《蘭亭序》 is the most representative of his works. and has
been praised as the “First Semi-cursive Script under Heaven”. Unfortunately, the original of the preface was buried together with the emperor Li Shimin(599-649),who loved Wang ’ and also
a fine calligrapher. The original is lost, but there is a number of fine tracing copies and rubbings by some great calligraphers, especially in Tang and Song Dynasties. There is a story behind
this work. One day in 353, Wang Xizhi invited a group of guests at the Orchid Pavilion. Wang and his guests sat by the two sides of a stream. They let some cups of wine float downstream.
When a cup stopped in front of anyone, that person was required to compose a poem. At the end of the day, 35 poems were composed. Much wine had also been consumed in the process. The
good company and the strong wine put Wang Xizhi in such a happy mood that he took up his brush and, there and then, wrote “Preface to the Collection of Orchid Pavilion Poems” as a
prelude to the collection of poems. That is a 324-character text in 28 lines, recording the happy gathering of these intellectuals. It is probably the most copied piece of calligraphy ever. The
character Zhi (之) appears lots of times in this preface ,but they are all unique in appearance.

Wang Xizhi is particularly remembered for one of his hobbies - rearing geese. It is said that he learned much from observing and imitating the geese. For example, the key of how to turn his
wrist while writing is from observation of how the geese move their necks. His calligraphy works included Preface to the Collection of Orchid Pavilion Poems《蘭亭序》
, Huang Ting Jing
《黃庭經》, Yue Yi Lun《樂毅論》, Shi Qi Tie《十七帖》, Chu Yue Tie《初月帖》, Shen Jiao Xu《聖教序》(collected by Huai Ren), etc.
Preface to the Collection of Orchid Pavilion Poems

Some Characters Zhi

 蘭亭序

永和九年，歲在癸醜，暮春之初，會於會稽山陰之蘭亭，修禊事也。群賢畢至，少長鹹集。此地有崇山峻嶺，茂林修竹； 又有清流激湍，映帶左 右，引 以為 流 觴曲 水，列 坐 其次 。

雖無絲竹管弦之盛，一觴一詠，亦足以暢敘幽情。

是日也，天朗氣清，惠風和暢。仰觀宇宙之大，俯 察品類之盛。所以遊目騁懷，足以極視聽之娛，信可樂也。

夫人之相與，俯仰一世，或取諸懷抱，悟言一室之內；或因寄所托，放浪形骸之外。雖趣舍萬殊，靜躁不同，當其欣於所遇，暫得於己，快然自足，曾不知老之將至；及其所之既

倦，情隨事遷，感慨系之矣。向之所欣，俯仰之間，已為陳跡，猶不能不以之興懷。況修短隨化，終期於盡。古人雲： “死生亦大矣。”豈不痛哉！
每覽昔人興感之由，若合一契，未嘗不臨文嗟悼，不能喻之 於懷。固知一死生為虛誕，齊彭殤為妄作。後之視今，亦猶今之視昔。悲夫！故列敘時人，錄其所述，雖世殊事異，所
以興懷，其致一也。後之覽者，亦將有感於斯文。

Preface to the Collection of Orchid Pavilion Poems

This is the ninth year of Yungho (A.D. 353), kueichou in the cycle. We met in late spring at the Orchid Pavilion in Shan-yin to celebrate the Water Festival. All the scholar friends are gathered, and there is a goodly

mixture of old and young. In the background lie high peaks and deep forests, while a clear, gurgling brook catches the light to the right and to the left. We then arrange ourselves, sitting on its bank, drinking in

succession from the goblet as it floats down the stream. No music is provided, but with drinking and singing, our hearts are at ease.

It is a clear spring day with a mild, caressing breeze. The vast universe, throbbing with life, lies spread before us, entertaining the eye and pleasing the spirit and all the senses. It is perfect.

Now when people come together, they let their thoughts travel to the past and the present. Some enjoy a quiet conversation indoors and others play about outdoors, occupied with what they love. The forms of

amusement differ according to temperaments, but when each has found what he wants he is happy and never feels old. Then as time passes on and one is tired of his pursuits, it seems that what fascinated him not so

long ago has become a mere memory. What a thought! Besides, whether individually we live a long life or not, we all return to nothingness. The ancients regarded death as the great question. Is it not sad to think of it?

I often thought that the people of the past lived and felt exactly as we of today. Whenever I read their writings I felt this way and was seized with its pathos. It is cool comfort to say that life and death are different

phases of the same thing and that a long span or life or a short one does not matter. Alas! The people of the future will look upon us as we look upon those who have gone before us. Hence I have recorded here those

present and what they said. Ages may pass and times may change, but the human sentiments will be the same. I know that future readers who set their eyes upon these words will be affected in the same way.
Part of Shi Qi Tie Part of Chu Yue Tie Part of Shen Jiao Xu
Part of Shen Jiao Xu
The Tang Dynasty (AD 618–907) was a greatly prosperous era of Chinese culture, and calligraphy was not
excepting. In the calligraphy history, Tang Dynasty was another peak after Jin Dynasty. At that time, all kinds
of scripts appeared in great prosperity and many far-reaching calligraphers emerged. The regular script
mostly originated from Wang Xizhi, but also with the tradition of calligraphy on papers and stones in late Six
Dynasties, gradually forming the calligraphy of Tang Dynasty. Cursive style was natural and elegant. During
this period, regular script and cursive script influenced the most of the calligraphy, and became the model for
later generations even today.

Yan Zhenqing (Wade-Giles: Yen Chen-ch’ing; Chinese:顏真卿)(709–785) was a leading Chinese calligrapher
and an official of the Tang Dynasty. He was another Sage of Calligraphy. He changed the gracefulness and
charm in Wei & Jin Dynasties, and developed a new type which is powerful, fantastic, grand, and in harmony
with the flourishing culture of the power Tang Dynasty. His calligraphy style, Yan-style, is the textbook-style
for people to imitate till now. He is considered one of the most innovative and influential calligraphers in
Chinese history after Wang Xizhi.

There are two points which should be mentioned about this great master. One is his calligraphy, and the other is his personality and moral virtues. In Chinese
calligraphic history, Yan’new style, Yan-style, turned into a standard form of writing Chinese characters. It made Chinese calligraphy to a new realm, emphasized on
strength, boldness and grandness. It is crucial to understand that in the days of Yan Zhenqing during the Tang Dynasty, a standard system of writing was still in the
making. Yan Zhenqing introduced a new form of regular script that brought Chinese characters to a new level of maturity, Yan’s characters were so well proportioned,
so attractive in their strength and beauty that they have been adopted as a model for people to learn throughout the whole Chinese history.

Not only a calligrapher of note, Yan Zhenqing was a government official of the Tang Dynasty, a great strategist and a man of morals. When the civil war, 755AD An
LuShan rebellion, broke out, Yan Zhenqing immediately started preparing for this civil war and became one of the major figures responsible for the rebellion. After
the rebellion, the emperor conferred the title of Duke of Lu (魯公) on Yan Zhenqing of his firm loyalty to the government and bravery in the war. In 784, the military
commissioner Li Xilie (李希烈) rebelled, Yan was sent as a government representative to negotiate with Li. Unfortunately, because of his unbendable character and
bravery, this negotiation cost him his life.
Yan Zhenqing’s style assimilated the essence of the past five hundred years, and almost all of the calligraphers after him were more or less influenced by him. His
representative calligraphy works included Duo Bao Ta Bei《多寶塔碑》, Yan Qin Li Bei《顏勤禮碑》, Ji Zhi Wen Gao《祭侄文稿》,and Dong Fang Shuo Hua Xiang
Zan《東方朔畫像贊》. Ma Gu Xian Tan Ji《麻姑仙壇記》, Zhong Xing Song《中興頌》, Yan Jia Miao Bei《顏家廟碑》, Zheng Zuo Wei Tie《爭座位帖》, Zi Shu
Gao Shen Tie《自書告身帖》, Qi Mi Tie《乞米帖》, Pei Jiang Jun Bei《裴將軍碑》.
Liu Gongquan (Wade-Giles: Liu Kung-ch’uan; Chinese:柳公權)(778–865) was a famous calligrapher who was often paired with Yan Zhenqing as the two great masters of the Tang
calligraphy in today's Tongchuan, Shaanxi Province. He was a follower of Yan's style of writing. He created his Liu style which emphasizes structure, clarity and thickness of the strokes
by combining the elegant and angular strokes of Ou Yangxun's style with the fullness and weight of Yan Zhenqing's style. He and Yan Zhenqing were known as "muscle of Yan and bone of
Liu". He was also a devoted Buddhist, and his beliefs affected his attitude towards calligraphy. His representative works included Jin Gang Jing Bei《金剛經碑》,Xuan Mi Ta Bei《玄秘
塔碑》 and Shen Ce Jun Bei《神策軍碑》.
Though inheriting the tradition of Tang Dynasty, the calligraphy in the Five Dynasties （AD 907–960）declined because of wars. During Northern
Song(AD 960-1127）, calligraphy got rid of the tradition of Tang Dynasty and appeared relatively thriving. While in Southern Song, calligraphy
developed slowly and slumped in general. The major achievement during the two Song Dynasties was semi -cursive script and its representative
calligraphers were Su Dongpo, Huang Tingjian, Mi Fu, Cai Xiang etc. They appealed for artistic conception and got rid of the style of advocating law
and standard in Tang Dynasty, forming the new style of advocating artistic conception and lyric expression(尚意抒情). The most important thing was
calligraphers in the Song Dynasty attached great importance not only to calligraphy but also to its literature and art conten t, which made a lasting
impact on later literature and art in China.

The over ninety years in the reign of Mongolia was called Yuan Dynasty (AD 1271–1368). Calligraphy at that time generally learnt from Jin and Tang
with less innovation. Due to its attention to the same method in painting and calligraphy, calligraphers in Yuan Dynasty often attached more attention to
the posture of font. The calligraphy in Yuan Dynasty appeared to be slumped and failed to form its unique style.

During almost three hundred years of the Ming Dynasty (AD 1368–1644), calligraphy inherited and developed the style with Tie Xue (帖學, “Tie” means
copybook and “Xue” means learning or school)) as the mainstream. Because emperors in Ming Dynasty were mostly fond of calligr aphy, engraving
copybook (刻帖)was more popular than ever, and Tie Xue also had a further development. In the latter half of the Ming dynasty, with the further
development of agriculture and the handicraft industry and economic prosperity, especially in Southern China, calligraphy obt ained considerable
development in literati-concentrated areas and a large number of outstanding calligraphers emerged, making calligraphy present a diversified pattern.
Though there appeared some great masters in Ming Dynasty, no significant breakthrough and innovation happened.

During the over 260 years in Qing Dynasty (AD 1644–1911), culture and art were prospers. There appeared many famous calligraphers in this period,
and formed a boom in the history of Chinese calligraphy. It broke through the excessive attention to Tie Xue(“Tie” means copy book and “Xue” means
learning or school) in Song, Yuan and Ming Dynasties, and pioneered Bei Xue(“Bei” means monuments or tablets and “Xue” means learning or school).
Its achievements in Seal script(篆書), official script(隸書) and Bei style of Northern Wei Dynasty(北魏碑體)can compare favorably with the regular
script in Tang Dynasty, the running script in Song Dynasty and the cursive script in Ming Dynasty, forming a new style of cal ligraphy. In the latter half
of Qing Dynasty, calligraphers like Deng Rushi and Kang Youwei learnt from the past and showed their individual style, successfully completed the
reform and innovation of Chinese calligraphy, saved the decline in Tang Dynasty and vitalized the development of the Chinese calligraphy. Since then,
the school of Bei Xue got rapid development, and its achievement kept abreast of that in Tang and Han Dynasty, making great influence even today.

Part of Zhang Qian Bei Part of Shi Men Song

Part of Zi Xu Tie
Two Poems
Fan Covering
Part of Teng Wang Ge Xu
Part of Cao shu Ce Ye
Works of Deng Rushi
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