WHEN CHINESE CALLIGRAPHY SPEAKS: EXPLORING EMOTIONAL INTERPRETATION IN A SPANISH UNIVERSITY COMMUNITY

ABSTRACT Background: In China, calligraphy has long been regarded not merely as a writing technique but as a manifestation of the calligrapher’s personality and emotional states. The expression “calligraphy reflects the person”, documented since the Han dynasty, has consolidated the idea that brushstrokes and writing styles project the calligrapher’s inner world. However, this concept has received little scholarly attention in the Western context, where Chinese calligraphy is primarily valued as an artistic or pedagogical resource. Objectives: The aim of this study is to examine whether the emotional state of the calligrapher can be perceived by Western observers with no prior knowledge of the language or calligraphic practice. Methodology: To this end, an empirical investigation was conducted with 31 Spanish university students enrolled in the Degree in East Asian Studies at the University of Salamanca. None of the participants had training in Chinese calligraphy, and most were unfamiliar with the traditional characters used in the selected work. The material analyzed was Draft of a Requiem to My Nephew by Yan Zhenqing (709-785), an emblematic piece of the Tang dynasty and a notable example of semi-cursive script. Participants observed the work and completed a questionnaire consisting of closed-ended questions on the sensations perceived and open-ended questions on their interpretation of the calligrapher’s emotional state. Results: Results show that 96.8% of participants identified predominantly negative emotions, mainly anger (67.7%) and anguish (19.4%). Although sadness was also part of the author’s emotional background, only 3.2% recognized it. Conclusion: In conclusion, the findings reinforce the idea that calligraphy is a visual art capable of transmitting emotions perceptibly, even to non-Chinese-speaking observers. This study contributes to the intercultural understanding of calligraphic art and opens new avenues for exploring the relationship between art, emotion, and nonverbal communication.

Institutions

Publication Details

Journal
Zenodo (CERN European Organization for Nuclear Research)
Published
2025-08-15
DOI
https://doi.org/10.5281/zenodo.17393430
Primary Topic
Historical Legal Studies and Society
Type
article
Field-Weighted Citation Impact
0.00
Controls
|||
ALL TIME
JAN
FEB
MAR
APR
MAY
JUN
JUL
AUG
SEP
OCT
article

WHEN CHINESE CALLIGRAPHY SPEAKS: EXPLORING EMOTIONAL INTERPRETATION IN A SPANISH UNIVERSITY COMMUNITY

Zenodo (CERN European Organization for Nuclear Research)
Historical Legal Studies and Society
article

WHEN CHINESE CALLIGRAPHY SPEAKS: EXPLORING EMOTIONAL INTERPRETATION IN A SPANISH UNIVERSITY COMMUNITY

article en

Abstract

ABSTRACT Background: In China, calligraphy has long been regarded not merely as a writing technique but as a manifestation of the calligrapher’s personality and emotional states. The expression “calligraphy reflects the person”, documented since the Han dynasty, has consolidated the idea that brushstrokes and writing styles project the calligrapher’s inner world. However, this concept has received little scholarly attention in the Western context, where Chinese calligraphy is primarily valued as an artistic or pedagogical resource. Objectives: The aim of this study is to examine whether the emotional state of the calligrapher can be perceived by Western observers with no prior knowledge of the language or calligraphic practice. Methodology: To this end, an empirical investigation was conducted with 31 Spanish university students enrolled in the Degree in East Asian Studies at the University of Salamanca. None of the participants had training in Chinese calligraphy, and most were unfamiliar with the traditional characters used in the selected work. The material analyzed was Draft of a Requiem to My Nephew by Yan Zhenqing (709-785), an emblematic piece of the Tang dynasty and a notable example of semi-cursive script. Participants observed the work and completed a questionnaire consisting of closed-ended questions on the sensations perceived and open-ended questions on their interpretation of the calligrapher’s emotional state. Results: Results show that 96.8% of participants identified predominantly negative emotions, mainly anger (67.7%) and anguish (19.4%). Although sadness was also part of the author’s emotional background, only 3.2% recognized it. Conclusion: In conclusion, the findings reinforce the idea that calligraphy is a visual art capable of transmitting emotions perceptibly, even to non-Chinese-speaking observers. This study contributes to the intercultural understanding of calligraphic art and opens new avenues for exploring the relationship between art, emotion, and nonverbal communication.

Zenodo (CERN European Organization for Nuclear Research)
Universidad de Salamanca (ES)
Quality Education
Openalex Percentile: Top 37%
Historical Legal Studies and Society
AI Navigator

Ask Laika to Summarize, Analyze, and Connect papers live on the map.

Summarize Papers & Methodologies

Extract key findings, datasets, and comparative methods across publications.

Benchmark Rankings & Visual Analytics

Rank top research institutions, authors, funders, topics, and journals by Field-Weighted Citation Impact (FWCI) and paper volume with instant charts.

Connect Distant Disciplines

Bridge topological clusters on the map to find hidden collaborative intersections.