It would be difficult to talk about Chinese art without understanding Chinese calligraphy and its artistic inspiration. A painting has to convey an object, but a well-written character conveys only its beauty through line and structure.
In Shanghai, or Beijing, I’ve watched men with longed handled brushes, as seen in the first video, using water for ink and concrete for paper. With grace, they exhibit the skills of a Rembrandt breathing life to the characters.
Lin Yutang writes in My Country and My People that Western art is more sensual, more passionate, fuller of the artist’s ego, while the Chinese artist and art-lover contemplates a dragonfly, a frog, a grasshopper or a piece of jagged rock—more in harmony with nature.
Owing to the use of writing calligraphy with a brush, which is more subtle and more responsive than the pen, calligraphy as art is equal to Chinese painting. Through calligraphy, the scholar is trained to appreciate, as regards line, qualities like force, suppleness, reserved strength, exquisite tenderness, swiftness, neatness, massivness, ruggedness, and restraint or freedom.
Maybe this helps explain why the Chinese are not as warlike as Christian and Islamic cultures.
See Chinese Yu Opera with Mao Wei-tao
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Lloyd Lofthouse is the award-winning author of the concubine saga, My Splendid Concubine & Our Hart. When you love a Chinese woman, you marry her family and culture too.
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Posted by Lloyd Lofthouse 
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