Letters and Deepspace: Cultural Background and Calligraphy Analysis
Introduction
For those of you who are interested in learning more about the cultural background of Chinese calligraphy and understanding what each LI’s calligraphy style says about his personality, character, values, and intellect, keep on reading.
This essay will be organized as follows:
Cultural background - An explanation of the calligraphy styles that can be found in the LI’s VIP letters, as well as additional cultural information which can help inform your understanding of what calligraphy means for each of the boys.
Character Analysis - 1.) Analysis of each LI’s calligraphy, which will discuss what calligraphy style is used and brush stroke analysis. 2.) An analysis of each LI’s character, personality, etc. based on his calligraphy.
The general table of contents will follow, so feel free to jump around in this essay. But, if you don’t know much about Chinese calligraphy and its cultural importance, I highly suggest you read the cultural background section before jumping to your favorite LI’s analysis.
This essay will be written in a slightly more academic style and will include sources that you will be able to read if you would like to learn more about Chinese calligraphy!
So with all that said, let’s begin.
Cultural Background
Chinese calligraphy has well over 3,000 years of history and is inextricable from Chinese culture, language, philosophy, and art. It has always been considered an elevated art form that reflects the calligrapher’s moral character and values, and also functions as one of the most technically and intellectually skilled art forms.
For millennia, calligraphy has been taught and practiced to hone one’s spirit and character; Chinese royalty, nobility, scholars, and warriors all practiced calligraphy in order to cultivate their discipline, focus, and control as a pathway to virtuosity.
Historically, calligraphy has served not only as a method of honing one’s mind and body, but also provides a vehicle for practitioners to pursue the Confucian ideals of wen-wu (文武), which state that those who are morally upright and virtuous must always strive to pursue intellectual and cultural refinement as well as martial mastery. By developing one’s intellect and martial prowess (which not only refers to warfare, but also inner resilience and strategic discipline) one can eventually achieve harmony and balance.
As a form of expression, calligraphy allows the calligrapher to convey their emotions, thoughts, and even character through each brush stroke that reflects their inner world and state of mind. Chinese calligraphy practitioners also traditionally believed that there is an inextricable link between calligraphy and moral character. Carolyn Bloomer writes in “I am the Cloud: Musings on Chinese Calligraphy and the Embodies Transmission of Knowledge”:
The link between art and morality runs deep in Chinese tradition. In the aesthetic judgment of brushwork, the calligrapher’s moral character is critical because that’s what the work is ultimately connecting you to. In the act of painting the calligrapher’s consciousness-energy is focused, transduced, and transmitted through the physical channels of the body – it flows from the heart-mind 心 xīn through the shoulders, through the arm, to the brush from whence it spills onto the paper. And because the brush has ink, it leaves marks. And the marks are the footprints of the calligrapher’s moral consciousness. (8)
In other words, one only needs to analyze a person’s calligraphy to determine the strength and quality of their moral character.
Calligraphy Scripts
While historically, there are five different calligraphy scripts, for the purpose of this essay, I will primarily focus on running script and grass (cursive) script, as these are the styles that can be found in the LI’s letters. However, in order for me to talk about these styles, I must first discuss regular script.
According to Chinese Writing and Calligraphy by Wendan Li, regular script features “distinguished and refined strokes and stroke types [with a] well-defined internal structure. It is a standardized script with prescribed techniques… The result is a precise form of calligraphy written in a serious manner” (130). It is also called “True Script”, and is the primary medium for all Chinese language study, and also is the foundation for running and grass scripts.
Running script (semi-cursive) is defined by the following characteristics:
Less formal and more free than regular script
Linked between strokes that demonstrate a continuous flow of energy
Simplified characters that still preserve legibility and elegance
Emphasis on harmony, discipline, and adaptability, with respect to social and moral order found in Confucianism
Running script is “the most popular calligraphy style because it lends itself well to all hand-written forms of communication” (Li 147).
Grass script (cursive) is defined as “the most expressive of all traditional Chinese calligraphy styles” (Li 149)
Highly stylized with rapid, flowing strokes and abbreviated characters, with an emphasis on fluidity
Highly individualized, with an emphasis on freedom of personal style and emotional expression, with strokes that are representative of either martial arts or a dance form (Li 150)
Deep philosophical understanding of expression and Daoist philosophical ideals, particularly that of wuwei (effortless action) which prioritizes spontaneity and natural expression.
Notably, grass script requires highly specialized training, which requires significant time and effort, as well as: 1.) foundational mastery over regular and running scripts; 2.) memorization of conventional abbreviations; 3.) development of unique continuous rhythm and flow, with an emphasis on fluidity and parallels continuous movement in martial arts training. As a result, while masters of grass script can always read running script, masters of running script might not always be able to read grass script due to specialized training. (Li 147-148.)
“The Aesthetic Structure of Cursive Script” by Zhu Lei Gang, Loy Chee Luen, and Lee Keok Cheong captures the essence of grass (cursive) script quite well:
Unrestrained cursive strokes whisper freedom's essence, liberation woven in ink…Cursive calligraphy, being the externalization of one's inner self, is sincere and without pretense. It is like an electrocardiogram of the heart, where every heartbeat, every breath, and every gaze are recorded truthfully…Ancient scholars described the freedom in cursive calligraphy in the following way: The brushwork is unrestrained, as if there is a suppressed energy that is eager to burst out from the tip of the brush. It flows downward like running water that cannot be stopped. Even though it is restrained and flowing, its posture still exudes a sense of control, with a carefree elegance. Some people may perceive cursive calligraphy as arrogant, but that's not the case. Cursive calligraphy is an expression of the inner self, and while it may appear wild on the surface, like madness, it is not. (1127)
Where running script creates balance and discipline while retaining clarity, order, and structure, grass script embodies artistic liberation and disrupts tradition by prioritizing spontaneity, effortless action, and unrestrained emotion.
Character Analysis
What I find very interesting about the VIP letters is the calligraphy mastery each LI demonstrates. In order to understand each LI’s character, we must understand his calligraphy style in order to understand what it says about his character.
I will analyze each LI’s personality based on 1.) brushstrokes, 2.) rhythm; 3.) character variations; 4.) composition; and 5.) legibility.
The following is all my own interpretation and analysis, so it definitely shouldn’t be taken as fact (unlike all the factual stuff in the cultural section). Please note that I am not basing any of this analysis on what we know their canon personalities to be, instead just focusing on how the calligraphy style speaks to each LI’s character, values, and personality.
Xavier
Xavier’s writing style is beautifully elegant and very well-structured. He writes in a masterful running script using either a brush or a brush pen that most likely reflects his centuries of training as the Crown Prince of Philos.
Brushstrokes - Smooth and flowing, without any jagged angles or edges. His strokes are rounded and soft, with gentle curves, with a controlled, restrained style, which tells me that he is someone who is calm and composed, and dislikes conflict, preferring to seek out harmony. His stroke pressure is steady and stable, which could mean that he has good self-control and discipline.
Rhythm - Pretty steady with a relatively calm flow that lacks urgency. This may suggest that he is reflective and introspective and takes time to consider his thoughts and feelings.
Character Variations - Very consistent throughout his entire letter, except towards the end, when his characters get a little smaller—which can mean that he likes order and clarity and also might prioritize structure and predictability, but will also try to communicate as well as he can in the space he’s given. There’s a respectful spacing between each character, which could perhaps reflect someone who is considerate and respectful.
Composition - Incredibly well structured and laid out perfectly, given the straightness of each line. The text itself is centered and well-balanced, which once again, suggests that he likes order and structure. Since he carefully arranged the characters, that tells me that he’s very methodical.
Legibility - Xavier’s letter is the most legible of all the LI. Such legibility implies that he may want to be understood by MC and wants to communicate with her very clearly, despite the hesitation he writes about in his letter.
Zayne
Zayne writes in a running script with firm, decisive strokes. However, based on some of the stroke pressure, he seems to use a fountain pen or a type of pen that has more flowing ink.
Brushstrokes - Steady and firm, with a lot of consistency that suggests confidence and decisiveness. Each stroke looks deliberate and controlled, which reflects someone who thoroughly considers his thoughts and actions. While he has pretty consistent pressure, sometimes, he also seems to use more force, so there are some bolder strokes and lines. This can mean that he’s very good at maintaining composure, but knows when he needs to assert his dominance
Rhythm - Smooth, natural rhythm with gentle transitions. This kind of fluidity might mean that he values harmony and is considerate. The pacing is controlled, which may suggest that he also has a great deal of self-control.
Character variations - Remarkably consistent, which tells me he likely values precision and order. The spacing between characters is mostly balanced (with the exception of a few characters where one stroke might lead into another, though that only happens a few times), which could reflect someone who is likely to respect boundaries even if he wants to press limits.
Composition - Though Zayne seems to have written this freehand, there’s definitely attention to structure that keeps all of his lines pretty well-aligned. This suggests that he approaches things strategically, with careful consideration, and values clarity in communication. Because his layout is very well-structured, it may imply that he’s very self-disciplined.
Legibility - Distinctly clear and legible, even though he does abbreviate some characters. Such clarity implies someone who prioritizes effective communication over decorative flourishes, valuing function over form while maintaining refined execution.
Rafayel
Rafayel writes in a very artistically expressive, exciting grass script which is exaggerated and filled with character. It’s actually quite challenging to read, but that’s not too surprising for grass script. He most likely uses a brush pen, given the variety in stroke weight. (As he’s an artist, this isn’t too surprising.)
Brushstrokes - Energetic and bold, with strokes that carry significant force and confidence. Each stroke has a huge amount of personality and character, which suggests someone who is quite passionate and bold. Because the pressure varies throughout the entirety of the letter, with both light and heavy strokes, this might suggest that he’s not afraid to express his feelings or say bold things. (Wow, I used the word “bold” a lot here, but it’s the best word to describe this.)
Rhythm - Irregular, almost staccato rhythm. His strokes alternate between very fluid and sudden, sharp changes, which could meant that he’s someone who’s impulsive and follows his heart and instincts.
Character variations - Notably inconsistent in size, with some characters dramatically larger or smaller than others. This variation tells me he values creative freedom over conformity—he’s not someone who likes to be bound by rules or traditions. The spacing between characters is also variable—sometimes the characters are crowded together and other times, they’re spread apart spread apart, which demonstrates that he’s someone who’s spontaneous and resists constraints.
Composition - Though his layout visually looks very chaotic, there's a sense of intentionally organized chaos, which suggests someone who’s creative, who embraces order within disorder. The visual impact leaves quite an impression, which may indicate someone who knows how to command attention.
Legibility - Quite challenging to read. To anyone who isn’t trained in calligraphy, his writing probably looks very messy and difficult to interpret, but this is a style that’s filled with individuality and personality. This means that he prides originality and wants to stand out.
Sylus
Sylus writes in a very strong, aggressive grass script with angular, sharp characters that are very confident and striking. He most likely uses a fountain pen with a fine nib, given the sharpness of each stroke.
Brushstrokes - Angular and sharp, with strokes that end in precise, pointed finishes. His style is aggressive, with controlled angularity and confidence, similar to what Wendan Li would call a “martial arts attack” style. There's a significant amount of force behind each character that tells me he's someone who knows exactly what he wants and isn't afraid to pursue it. Some strokes appear bold and decisive while others show a lighter touch, which might indicate that he’s highly adaptable while maintaining his core convictions.
Rhythm - Fast and energetic—he moves forward with confidence and purpose. Though his calligraphy is sharp, there's a fluidity between strokes that implies great control over both movement and emotions. However, what’s really interesting is the variation in his pacing; though his rhythm is relatively fast throughout, some characters feel more deliberate, as if he's taking the time to emphasize the significance of certain thoughts.
Character variations - Very varied, with some characters that are dramatically larger or bolder than others, which suggests that he values individual expression over rigid conformity, and possesses a mind capable of complex, nuanced thinking. The refusal to conform to size demonstrates that he prioritizes freedom of expression, instead of rigid rules and standards, placing a focus on authenticity.
Composition - Sylus’s writing flows continuously without large spaces. The spacing between characters is very tight, sometimes his characters even flow into one another, making the boundaries unclear, but with seemingly intentional breaks that create a natural rhythm. This can mean that he may be someone who thinks and feels intensely, and doesn’t waste energy or space—he’s pouring the intensity of his thoughts onto the page while still maintaining a certain pragmatism in his economy of language.
Legibility - Sylus’s writing is quite challenging to decipher for anyone who is not trained in grass script, and actually reflects his mastery over the style. He uses quite a few abbreviated characters, which, to an untrained eye, can look like gibberish, which could suggest that he is someone who doesn’t feel the need to be understood. The combination of his strokes and variation in characters creates what looks like complete chaos, but there’s a measured intensity and control through the purposeful sharpness of each of his strokes.
Conclusion
Overwhelmingly, I would say that the calligraphy styles Infold created for each of the LIs is incredibly in character and canon-accurate for their personalities. I think that Infold did an exceptional job reflecting the nuances of each LI through the complexity of their brush strokes, the cadence of their writing, and the structural composition of each of the letters.
Xavier’s beautiful writing reflects not only his centuries of training as a prince, but also his calm demeanor, his introspective and reflective nature, as well as his desire to want to be understood by MC: “But now I definitely hope, the end of the path I choose will always be connected to yours.” (Link)
Zayne’s calligraphy demonstrates his decisiveness and confidence, his remarkable self-control and discipline, and the clarity of his communication: “Thank you for existing. Thank you for all of the choices you made before we met, which led me to meet you, at that perfect minute, that perfect second, which I can’t imagine could be even more flawless.” (Link)
Rafayel’s individuality, creativity, and spontaneity shines through the expressiveness and boldness of his strokes. His impulsivity is writ large not only in his calligraphy, but also when he says: “I wrote this letter just cuz I thought of you. Is that not okay?” (Link)
Sylus’s intensity, his prioritization of emotional expression, and confidence shines clearly in the strokes that make up his grand declaration of love: “I tried to find the reason why I accidentally fell so deeply, but realized that even if I did find the answer, it wouldn’t mean anything—because that person is you.” (Link)
Works Cited
Bloomer, Carolyn. "I Am the Cloud: Musings on Chinese Calligraphy and the Embodied Transmission of Knowledge." US-China People’s Friendship Association National Convention, Millennium Gate Museum, Atlanta, GA, 13 Sept. 2015.
“Cursive Chinese Calligraphy — ‘Grass Script’.” Ink and Brush, 17 June 2023.
Gang, Zhu Lei, Loy Chee Luen, and Lee Keok Cheong. “The Aesthetic Structure of Cursive Script.” Journal of Chinese Calligraphy Studies, vol. 45, no. 8, 2009, pp. 1127-1135.
Li, Wendan. Chinese Writing and Calligraphy. University of Hawaii Press, 2009.
Ni, Peimin. "Moral and Philosophical Implications of Chinese Calligraphy." Grand Valley Review, vol. 20, no. 1, 1999, article 8.
“Regular Script: Chinese Calligraphy Standard.” Ink and Brush, 5 June 2023.
“Running Script in Chinese Calligraphy.” Ink and Brush, 3 June 2023.
Wei, Lia, and Michael Long. “Entexted Heritage: Calligraphy and the (Re)Making of a Tradition in Contemporary China.” China Perspectives, vol. 2021, no. 3, 2021.
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