An Introduction about Shū and Huà in China Culture

Shū refers to Chinese calligraphy, which dates to the origins of recorded Chinese history, in essence ever since written characters have existed. Chinese calligraphy is said to be an expression of a practitioner’s poetic nature, as well as a significant test of manual dexterity. Chinese calligraphy has evolved for thousands of years, and its state of flux stopped only when Chinese characters were unified across the empire. Chinese calligraphy differs from western calligraphic script in the sense that it was done with a brush instead of metal implements or a quill. Calligraphy was the art by which a scholar could compose his thoughts to be immortalized. It was the scholar’s means of creating expressive poetry and sharing his or her own learnedness.

Huà refers to Chinese painting. Brush painting is the final of the arts that a scholar is expected to learn, and is unarguably the greatest measure of individual creativity. Through painting a Chinese noble would demonstrate his mastery over the art of line. Often Chinese paintings would be produced on a sheet of plain white rice-paper or silk using nothing but black ink and a single brush. These paintings were made to demonstrate the power of a single line, and in them was reflected a skill that valued intentional and calculated strokes over instinctual erratic creation. In a Chinese painting was reflected the artist’s ability to evaluate his own imagination and record it clearly and concisely. Chinese painting can be traced back even farther than calligraphy. Some examples date back to the decorative paintings that were emblazoned on Neolithic pottery. To add tonal quality to paintings the artists would often paint portions of the subject then wash the cloth before continuing. This made for beautiful landscapes and depictions of ritual. Painting was the art by which a scholar could separate him or her from the others and take a name.