Handwriting for mind expression is the core proposition in the construction of calligraphy history and even the definition and evaluation of calligraphers’ style. The value recognition from pure artistic style is based on the general expectation of ancient literati under the ideal mentality of art. However, in the creation and collection of Chinese calligraphy, social calligraphy is a very common phenomenon. Especially in the Ming and Qing Dynasties, the number of calligraphy works written for entertainment was far more than that created for self-entertainment. Especially those from the Ming and Qing dynasties, the number of calligraphy works written for social engagement is far more than those created for self-enjoyment. So could this social calligraphy be regarded as the mind expression of calligraphers? How do we look at the relationship between handwriting for mind expression and this social calligraphy? This paper first explains the origin and change process of the theory of handwriting for mind expression, and probes into its theoretical connotation. Then, according to the calligrapher’s writing state, writing object, writing purpose, and other factors, the paper classifies social calligraphy and takes Shan Fu and Yangzhou Eight Eccentrics as examples to discuss whether each type of entertainment works can be regarded as the calligrapher's mind expression.

Yifan Li. Handwriting for Mind Expression and Social Calligraphy. Frontiers in Art Research (2024) Vol. 6, Issue 11: 74-78. https://doi.org/10.25236/FAR.2024.061111.

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