Entexted Heritage: Calligraphy and the (Re)Making of a Tradition in Contemporary China

Abstract

From medieval times to the present, calligraphy has been theorised as a product of "spirit" rather than of the hand, and has been situated atop the Chinese aesthetic hierarchy. Recognising calligraphy as a key aspect of national identification, the People's Republic of China applied for its recognition to the Representative List of the Intangible Cultural Heritage of Humanity. Through the process of constructing calligraphy as Intangible Cultural Heritage (ICH), a simplified calligraphic canon emerged, which epitomises the "correct spirit of tradition." Building on art historical and anthropological questions of transmission and authentication of the classical tradition of calligraphy, this paper challenges this idealised conceptualisation by investigating how a contemporary Chinese ICH regime has worked to "entextualise" calligraphy into present social and political circumstances.

Exploring the Characteristics of Chinese Ancient Inscriptions: A Chen's Theory Perspective

“…The ancient inscriptions style holds a revered place in the annals of Chinese calligraphy, representing one of its earliest forms and a vital component of China's cultural heritage (Wei & Long, 2021). Despite being less prevalent in contemporary practice compared to other calligraphic styles, ancient inscriptions are revered for their historical significance and aesthetic allure (Matsumoto & Okada, 2021).…”