Chinese traditional calligraphy is one of the quintessence of Chinese culture. Nowadays, calligraphy skill are well-known and widely practiced with the help of modern technology and ways of communication. However, the spread of some of poor calligraphy works caused confusion on what a good calligraphy work is. For the purpose of guiding young students to appreciate the beauty of calligraphy art, Professor Song Yifu of the National Art Research Institute of University of Sanya gave popular science lecture entitled "Calligraphy Aesthetics" to teachers and students at the National Art Museum in Shushan Library.
Professor Song took Multi-pagoda Stele by Yan Zhenqing, a famous calligrapher of Dang Dynasty, as the example to explain the strokes and structures when writing some specific Chinese characters with a brush as well as how the calligraphy symbolizes a calligrapher’s appreciation and inheritance of the culture conveyed by Chinese characters.
Professor Song made an analysis on the theories on calligraphy by Wang Sengqian (Nan Dynasty, around 426 - 485), Huang Tingjian (Northern Song Dynasty. 1045 - 1105), Liu Xizai (Qing Dynasty, 1813 – 1881) and He Shaoji (Qing Dynasty 1799 – 1873). He believed that there were four levels as for the calligraphy aesthetics, among which, the basic level is form, and the other three upward are spirit, style and law. The higher level the calligraphy work achieves, the less.
Chinese calligraphy is rooted in traditional Chinese culture and follows the rules of the nature. Without certain Chinese cultural accomplishment, it is difficult to surpass the ancients only by imagination or copying, and even more difficult to create masterpieces representing times. Not only did the lecture transmit the true meaning of calligraphy art, it also guide young students to strengthen the study and cultivation of traditional Chinese culture.
Editor&Translator: Cong Shan
Revised by: Zhang Yuhong
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