Article By Yanyan Hu Jin Zi Lu 

What is Chinese calligraphy?

Calligraphy is the art of writing characters. It specifically refers to the artistic expression of Chinese characters through the use of the brush, the structure of the characters, composition, ink techniques, and script styles.

It is a unique art form that developed over time through the aesthetic practice of calligraphers and stands as one of the finest traditional cultural heritages of the Chinese nation.

Main calligraphic styles

Calligraphy originated in ancient China, it has a long history dating 4000 years. The earliest written records can be traced back to the Shang dynasty (c. 1600 BCE – 1046 BCE), found in the oracle bone inscriptions (甲骨文 jiǎgǔwén) and bronze inscriptions (金文 jīnwén).

Over the course of history, the art of calligraphy evolved through various script styles, including: Seal Script（篆书 Zhuàn shū), Clerical Script (隶书 Lì shū), Regular Script (楷书 Kǎi shū), Running Script (行书 Xíng shū), and Cursive Script (草书 Cǎo shū).

	Seal Script is the earliest form of calligraphy. It is characterized by an ancient and elegant style, with strong and forceful strokes and smooth, rounded lines. Its balanced structure and majestic aura reflect a sense of simplicity and grandeur.
	Clerical Script  flourished during the Qin and Han dynasties. It evolved from Seal Script, featuring broad and flat characters, with long, extended horizontal strokes and short, powerful verticals. Its distinctive “silkworm head and swallow tail” brushwork and the rhythmic “three turns in one stroke” technique give it a strong sense of rhythm and grace.
	Regular Script  developed from Clerical Script. It is neat and clear, with upright and square strokes. The beauty of Regular Script lies in its balanced and orderly structure, conveying a sense of calm precision.
	Running Script  stands out among all styles for its elegance and practicality. Its strokes flow naturally and smoothly, creating a lively and rhythmic sense of movement.
	Cursive Script originated in the Qin and Han periods. Its strokes are continuous and unbroken, with forms that shift unpredictably—sometimes bold and forceful, sometimes light and free, like “a startled snake slithering into the grass” or “a thirsty steed galloping toward a spring.” It gallops freely across the vast expanse of paper, full of vitality and expressive power.

Masters of Chinese Calligraphy

王羲之 – Wang Xizhi (303 – 361 CE)

He was a renowned calligrapher of the Eastern Jin dynasty, honored as the “Sage of Calligraphy.” (书圣 shū shèng)

Wang is known for his proficiency in multiple Chinese script styles, particularly the regular, semi-cursive, and cursive forms.

His masterpiece, the Preface to the Poems Composed at the Orchid Pavilion (兰亭序 lán tíng xù), is celebrated as “the finest running script under heaven.”

颜真卿 – Yan Zhenqing (709 – 785 CE)

He was a celebrated calligrapher of the Tang dynasty, proficient in both running script and regular script. His style of regular script, often called Yan script (颜体 yán tǐ), brought Chinese calligraphy to a new realm, emphasizing strength, boldness, and grandness. 

Together with Zhao Mengfu, Liu Gongquan, and Ouyang Xun, he is honored as one of the “Four Great Masters of Regular Script.”

Representative works include the Duobao Pagoda Stele (多宝塔碑 duō bǎo tǎ bēi), the Draft of a Requiem to My Nephew (祭侄文稿 jì zhí wén gǎo）.

张旭 – Zhang Xu (8th century CE)

An eccentric and brilliant calligrapher of the Tang dynasty, known as the “Sage of Wild Cursive” (草圣 cǎo shèng).

He was celebrated for his wild cursive script (狂草 kuáng cǎo), characterized by bold, dynamic, and dance-like movements full of energy and emotion.

His most legendary work is said to have been created in a state of drunken inspiration：the Preface for Li Qinglian (李青莲序 lǐ qíng lián xù).

Tools

Behind every graceful character lies the craftsmanship of the Four Treasures of the Study (文房四宝 wén fáng sì bǎo): the brush (笔 bǐ), ink (墨 mò), paper (纸 zhǐ), and inkstone (砚 yàn). Around them are many supporting tools that complete the calligrapher’s studio.

1. Brush

 

The brush is the soul of calligraphy, there are many types of them:

• Goat-hair brushes (羊毫 yáng háo), which are soft, smooth, and elastic. It absorbs ink deeply and flows gracefully, ideal for cursive script (草书 cǎo shū), clerical script (隶书 lì shū), seal script (篆书 zhuàn shū), and freehand ink painting (写意画 xiě yì huà). Because it is sensitive and hard to control, it is often preferred by experienced artists.
  
• Wolf-hair brushes(狼毫 láng háo), made from weasel hair (黄鼠狼毫 huáng shǔ láng háo), firm and springy. It creates sharp, precise strokes and is excellent for regular script (楷书 kǎi shū) and running script (行书 xíng shū). Ideal for learners who need control.
  
• Mixed-hair brushes (兼毫 jiān háo), combine goat and wolf hair, balancing softness and strength. It’s easy to start and suitable for any style.
  
• Rabbit-hair brushes(兔毫 tù háo) are rarely used alone. It is fine, short, and soft, often mixed within other hairs to adjust flexibility and ink flow. 

Other materials include badger hair for strength, deer hair  for elasticity, and horse hair for a coarse texture.

2. Paper

Paper gives voice to the brush. The most revered is Xuan paper, produced in Jing County(泾县), Anhui Province. In Chinese calligraphy and painting, the choice of paper directly affects the texture, ink flow, and artistic atmosphere of a work. Different papers serve different purposes.

Types of Xuan Paper

• Raw Xuan (生宣 shēng xuān)：highly absorbent; ideal for free, expressive styles like cursive script or ink painting.
  
• Processed Xuan (熟宣 shú xuān):  treated to reduce absorbency; suitable for neat, precise writing such as regular script.
  
• Semi-processed Xuan (半生熟 bàn shēng shú): a balanced choice between the two, making it especially good for beginners.

Other Papers

• Maobian paper (毛边纸 máo biān zhǐ)：inexpensive practice paper made from wood pulp or recycled fibers. It absorbs ink moderately and is ideal for daily training.
  
• Scroll paper (绢纸 juān zhǐ): high-quality paper or silk used for mounting finished works; elegant but costly.
  
• Goose-skin paper (雁皮纸 yàn pí zhǐ): soft, slightly fibrous, with visible texture that gives a classical, antique charm.
  
• Bamboo paper and hemp paper (竹纸 zhú zhǐ and 麻纸 má zhǐ) are both rougher and more rustic, sometimes showing natural fiber remnants.
  
• Gold-flecked and colored paper (洒金纸 / 彩笺 sǎjīnzhǐ / cǎi jiān ) are decorated with gold dust or pigment, modern and decorative, used for creative calligraphy. Couplet paper (春联纸 chūn lián zhǐ), used for festive calligraphy such as Spring Festival couplets, also belongs to this decorative paper category.

3. Ink and Inkstone

In Chinese calligraphy, ink (墨 mò) and inkstone (砚 yàn) are more than tools, grinding ink before writing is a sacred act of focus, linking the artist’s hand, heart, and breath.

Ink Stick

 

Traditional ink is made from soot, animal glue, and aromatic ingredients, molded into solid ink sticks. When ground with water on an inkstone, it turns into the deep black ink that defines Chinese calligraphy and painting.

There are two main types of soot:

• Pine soot ink (松烟墨 sōng yān mò) — produced by burning pine wood. It creates a soft, bluish-black tone with a matte finish, perfect for calligraphy that values subtlety and balance.
  
• Oil soot ink (油烟墨 yóu yān mò) — made from vegetable or tung oil. It produces a deep, glossy black, often used in painting for strong contrasts.
• Mixed ink (混合墨 hùn hé mò) is made by blending oil soot and pine soot. It combines the softness of pine soot with the depth and gloss of oil soot, producing a balanced black suitable for both calligraphy and painting.

The process of making fine ink sticks requires exceptional skill. Premium sticks are hand-shaped, dried naturally, and aged for years. 

Inkstone

 

The inkstone (砚台 yàn tái) is used for grinding ink sticks (墨条 mò tiáo) into liquid ink. It stores water, helps control ink density, and provides a smooth surface for grinding.

The Four Famous Inkstones are: Duan Inkstone (端砚), She Inkstone (歙砚), Taohe Inkstone (洮河砚), Chengni Inkstone (澄泥砚).

High-quality inkstones come from specific quarries known as “pits” (坑 kēng)such as Laokeng (老坑) or Songkeng (宋坑). Like fine ink, true quality inkstones are rare and costly, and the market includes fakes polished to appear valuable. 

Auxiliary Tools 

Beyond the Four Treasures, many other tools support the calligrapher’s art. Paperweights keep the paper flat. Brush rests hold the brush gently when not in use. Brush washers are used to clean the brush, while seals and red ink paste serve as the artist’s signature, a final touch of life in red after the silence of black ink.

After writing, the work is carefully mounted using paste (浆糊 jiāng hú) and wool brushes. Mounting helps preserve a calligraphy work for a long time and allows it to be remounted or adjusted when needed.Some experienced restorers use hot water or steam when remounting old calligraphy works. The heat helps dissolve the old wheat-starch paste that holds the backing paper.