Shu Dao Shuo｜
Reading, copying posts, explaining Tao, writing from the heart

Before the Tang Dynasty in ancient China, the art of writing Chinese characters was known as "Shudao," which emphasized not only the technique of writing but also the meaning of self-cultivation, character building, and spiritual enlightenment. It can be said that "the way is carried by writing."

Later, due to the emphasis on rules and regulations by the Tang Dynasty, which helped with standardizing and spreading the characters, the term was changed to "calligraphy" and has been used ever since. Nowadays, we are more accustomed to using the term "calligraphy," while Korea calls it "Suye," and Japan still refers to it as "Shodo."

Exploring the mystery of the constantly changing aesthetics of calligraphy between reality and illusion is a crucial starting point, and the contemplation of Shudao will be an essential element that cannot be ignored.

#01

The ideology of "Shudao" has been passed down through the classics.

▲Lao tze portrait

"Man follows the Earth, Earth follows Heaven, Heaven follows the Tao, and the Tao follows Nature."

Laozi introduced the concept of "Dao" in the "Tao Te Ching." Dao is a transcendent and eternal abstract existence that is the root of all things. It is silent, formless, quiet, and empty, endlessly circulating, independent and enduring, never depleted, stretching far, and returning to its origin.

Before the existence of heaven, earth, and humanity, Dao has always existed, and it continues to exist even when they no longer exist. Dao is the basis for heaven, earth, and humanity, but it does not need a basis of its own. There are four grand things in the universe: Dao, heaven, earth, and humanity, and humanity is one of them. Humanity follows the law of the earth, the earth follows the law of heaven, and heaven follows the law of Dao, while Dao simply follows nature.

Chinese literati admire the concept of "Dao" and apply it to calligraphy aesthetics and exploring inner states, which is only natural.

The term "Shudao" first appeared in the "Fei Caoshu" by Zhao Yi, a thinker, and writer in the Eastern Han Dynasty.

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Zhao Yi (the Eastern Han Dynasty)portrait

"Fei" means criticism and dissent. In his article, Zhao Yi passionately declared, "Dao is the fundamental of writing." This article criticized literati and officials at the time for being overly obsessed with practicing cursive script due to the extreme popularity of Zhang Zhi's cursive script. They would ruin a pen in just ten days, with their collars, cuffs, and even lips and teeth being blackened. The true wisdom of the sages was neglected. To be a true artist of cursive script, one must not only be skilled in writing but also have knowledge and thoughts.

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The Monument of Xianyu Huang" (Eastern Han Dynasty, author unknown), Tianjin Museum

The "Xianyu Huang Stele" from the Eastern Han Dynasty is a monument that seeks innovation and change in Han Li calligraphy. It is simple, powerful, and majestic, and features a mix of square and round characters of varying sizes, as well as regular and cursive scripts. It fully embodies the natural way of calligraphy.

The famous female calligrapher of the Eastern Jin Dynasty, Lady Wei, was the teacher of the "Calligraphy Saint" Wang Xizhi. In her calligraphy theory book, "The Pen and Ink Formation," she elaborated on the fundamental techniques of holding and using the brush, stroke strength, balance of empty and solid spaces, line thickness, balance, and fullness. Her exposition of these seven basic stroke techniques has become a classic calligraphy book that has guided later generations in their calligraphy practice.

Starting with the character "永" as a point of departure, as in the natural metaphor of "rock falling from a peak," which was taught by Lady Wei to Wang Xizhi as the first lesson in her book "The Diagram of Writing Techniques," is the foundation of calligraphy. Lady Wei, the famous female calligrapher of the Eastern Jin Dynasty, was Wang Xizhi's teacher and her book was an enlightening guide for later generations to learn calligraphy.

Lady Wei taught beginners to observe nature and feel the Tao through their own experience. By reaching a state of harmony between mind and body, they could then perceive the beauty of purity in the act of writing and the interaction between individual writing and the world. This approach can be considered the best way to teach the principle of "Tao follows nature."

Apart from Lady Wei, there are also records of famous calligraphers and critics in history who have their own interpretations and elaborations on the concept of "the way of calligraphy."

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Wang Xizhi (Eastern Jin Dynasty) "Seventeen Pieces", The Metropolitan Museum of Art in the United States

In his "Ji Baiyun Xiansheng Shu Jue", Wang Xizhi said, "The spirit of calligraphy must reach the level of Tao." His "Youjun Zhangcao Tiege" combines the form of Zhang Xu's cursive script with the meaning of today's cursive script. The body expresses Baiyun's Tao, and the brush breaks and connects the meaning. When writing reaches the state of freedom, it is called "Calligraphy Saint" by historians.

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Yu Shinan's (Tang Dynasty) "Confucius Temple Stele" Tang rubbing is collected by the Mitsui family in Japan, and the engraved stone is stored at the Xi'an Beilin Museum

The Tang Dynasty calligrapher Yu Shinan wrote in his essay "The Essence of Calligraphy: Understanding the Subtle": "Therefore, to truly understand the profundity of the way of calligraphy, one must rely on inspiration from the divine." The mysterious essence of calligraphy can only be understood through the senses and contemplation.

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Yang Ningshi (The Five Dynasty) "The Method of the Divine Immortals' Daily Life", paper, The Palace Museum

The Northern Song Dynasty calligrapher Huang Tingjian mentioned in "Asking Shaoying to Write" that "the artistic charm of calligraphy declined at the end of Tang Dynasty, and only Yang Ningshi inherited the natural brushwork of the ancient masters." The profound art of calligraphy declined at the end of the Tang Dynasty, but only Yang Ningshi of the Five Dynasties inherited the natural brushwork of the ancient masters.

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Zhang Xu (Tang Dynasty) “Preface to the Collection of Li Qinglian's Poems”

Zhang Xu, the "Sage of Cursive Script," despised aristocrats to the point where he would not board their ships even if summoned by the emperor. He founded the Kingdom of Diancao, unleashing the brilliance of his inner life, and thus became a revered sage and teacher.

Yan Zhenqing commented on Zhang Xu, saying, "The strokes of his cursive script are like drawing in sand, and the dots and lines are refined and charming, reaching the pinnacle of the Way." To truly write in regular script as well as in simplified cursive style, one must use strokes as if drawing in sand, making the dots and lines clear and bright. Only in this way can we attain the Way of Nature in our writing.

#02

My view on the way of calligraphy: reading, copying, understanding, and writing with heart

The term "calligraphy" today refers more to the form rather than the essence, which lies in the realm of the Tao.

Over the past thirty years, more and more people have become aware of the limitations and constraints of the term "calligraphy". Different styles of calligraphy are often labeled as "traditional", "popular", "modern", or "academic", and there is a debate about the essence of "form" versus "content". Some are content with achieving one level and do not seek to reach the essence of the Tao, while others are reckless and lose their way in seeking to show off their skills. Some even focus on artificial designs and lose the way of natural writing. All these are constrained by form and cannot achieve true freedom.

The Tao is the basis for the understanding of nature and philosophy in China and even in human culture. Establishing the awareness and concept of "the way of calligraphy" is of great value to those who learn calligraphy, explore art, and develop Chinese culture. The way of nature is constantly changing and evolving, adapting to the times, and infinite.

My understanding and perception of "Shu Dao" (the way of calligraphy) after years of practice can be summarized as follows:

Read, Copy, Understand, and Create

• Read: To aspire to lofty ideals and study the classics to cultivate the mind of calligraphy

• Copy: To face the masterpieces and nourish the heart of calligraphy

• Understand: To seek the essence of Taoism and the origin of the true calligraphy

• Create: To empty oneself and express oneself, and make the new heart as the source of calligraphy

Practice the purpose of calligraphy: "Inspire from oracle bone script, learn from seal and clerical scripts, establish correctness with regular and running scripts, and write from the heart with cursive scripts."

Trace back to the source, develop the original heart, search for the unrevealed light of understanding, and pray to follow the way of nature to constantly renew oneself.