On the Separation of Literature and Calligraphy in the Calligraphy Community

Inputtime:2022-02-12 12:11:21

It is well known that correct and proper writing is the minimum and fundamental requirement for calligraphers. We only need to write beautifully on the basis of accurate and standardized text, and then seek some personalized elements. Suppose a calligraphy work, even if the brushwork is perfectly executed, the rules are meticulously observed, and every stroke and composition is flawless; if there are “serious flaws” such as misspelled characters, other incorrect characters, or non-standard characters, it will become a flaw and “stain” in the entire piece, naturally becoming a subject of criticism and discussion after people have had a few drinks. If you participate in some formal exhibitions or competitions, you will surely be mercilessly eliminated. Indeed, misspelled characters in calligraphy are like eating a bowl of delicious, steaming hot rice—if you accidentally bite into a stone or an insect, not only will it make you choke, but it will also cause nausea... If a calligrapher frequently writes “beautiful misspelled characters,” and misspellings frequently appear in a single book, it not only damages the individual’s writing image but also harms the reputation of the calligraphy community. Therefore, “calligraphers’ writings should contain no misspelled characters” cannot serve as a theoretical basis for calligraphers to justify sloppy or inadequate writing, nor can it serve as an objective criterion for viewers to evaluate calligraphy works. It is merely a specific behavior of a particular writer under specific circumstances, rooted in the lack of a stable foundation.