AMID an ongoing revival in all things ancient, the journal “Chinese Calligraphy Studies” has resumed publication after a nearly eight year hiatus.

Put out by Shanghai Fine Arts Publisher, the quarterly academic journal had its first issue in 1979, making it the earliest publication of its kind in the country. Despite its scholarly orientation and content, the journal long boasted a sizable readership among the general public. In its heyday, “Chinese Calligraphy Studies” claimed a circulation of 100,000 issues, according to its publishers.

The journal fell on hard times though in the early- and mid-2000s thanks to the rise of digital media and waning popular interest in traditional culture. By 2008, the journal ceased publication indefinitely, much to the chagrin of its remaining readers.

Fast forward to the present day, calligraphy has been resuscitated thanks to a concerted effort to foster interest in China’s indigenous culture, with everything from Peking Opera to papercutting being championed by authorities.

A long history

The ancient art of writing Chinese characters has a history almost as long as China itself. In the country’s imperial past, calligraphy was seen as an essential skill among members of the country’s literati class — the others being painting, and mastery of stringed instruments and board games.

Many across China are once again making calligraphy part of their lives, with classes everywhere filling up with children and adults alike. In other words, those at the country’s premier calligraphy journal could hardly have asked for better conditions to resume publication.

“I feel honored to re-open the magazine this month,” said Wang Lixiang, publisher and editor-in-chief at the Shanghai Fine Arts Publisher. “Today many of my friends have started to use a brush and copy sutras onto rice-paper. As I see it, calligraphy is an important practice to experience the beauty of China’s ancient civilization.”

According to Wang, the magazine will continue to focus on new developments and theories in calligraphy from an academic perspective.

Calligraphy scholar Hua Rende is among the community of specialists who are happy to see the journal return.

“I can clearly remember when my first article was published in this magazine decades ago,” Hua said. “When I heard the magazine had shut down, I was quite upset. But today I’m all too happy to hear of its return.”

Lay readers and calligraphy neophytes are also keen to check out the latest issue.

“I intend to subscribe to the magazine. I’m curious to read it,” said Jimmy Zhang, a forty-something white-collar worker who practices calligraphy for about an hour each day after work. “Several years ago, one of my friends recommended that I practice calligraphy. At that moment, I thought ‘who has time to write calligraphy? This is a hobby for the elderly to while away their retirement years’.”

More than a hobby

On a whim though, Zhang picked up a brush — only to find it difficult to put it back down again. What he found wasn’t a way to kill time, but a deeply meditative and immersive art.

“When all my attention was on... the curves of the character under my brush, I cast everything else aside. I felt a rare peace in my heart, as if all the chaos in my mind was gone.”

Editor Shen Yao, 43, is also a recent convert to the calming joys of calligraphy. Like Zhang, she sees it not just as a hobby, but a source of emotional succor and fulfilment.

“I live alone,” she explained, “and unlike my peers who have to take care of their families and kids, I have plenty of time after work. I need a hobby to nurture myself. I find calligraphy is really helpful.”

Along with millions of her compatriots, Shen was exposed briefly to calligraphy during primary school. There was little in this initial contact to spark her interest though, and for many years she gave up this art.

“When I learned calligraphy as a small child, it was just like writing characters. But now my experience is different. I’ve asked a famous local calligrapher to be my teacher. Every week, I go to his home to show what I’ve practiced. My teacher will offer his comments and recommend calligraphy books for me to copy.

“Sometimes I think it’s fortunate that I’ve found calligraphy as my spiritual support. You don’t need other companions... all you need is an ink-stone, a brush and rice-paper. Writing calligraphy has become an indispensable part in my life.”

Some see other benefits to this meditative practice, which often calls for long periods of standing and mastery of fine-motor movements.

Multiple benefits

“Practicing calligraphy is a good way to exercise one’s body,” said Lu Man, a local doctor of traditional Chinese medicine. “When one is writing calligraphy, one can’t be in a hurry and practitioners often have slowed heart rates. It also works the muscles in one’s legs, arms and wrist.”

Famed ink-wash painter Chen Jia-ling, echoed Lu. Chen himself has just recently made the leap into calligraphy, a medium he sees as related to his primary discipline.

“Perhaps that’s the reason I stay so healthy,” said the 79 year-old artist.

“Those who can paint well on the rice-paper can also write well on it. Calligraphy and painting share the same origins,” Chen said.

There are many different styles and schools in Chinese calligraphy that have emerged over the centuries. Chinese calligraphy is also an established and admired art outside the country as well. Picasso himself was once quoted as saying: “Had I been born Chinese, I would have been a calligrapher, not a painter.”

With calligraphy catching on among the masses, Hua and Wang both say the revived “Chinese Calligraphy Studies” should help share information about this time-honored art not just among specialists and academics.

“I’m worried about the quality of the articles, and whether there are enough experts and scholars who can write in this area,” said Hua. “I suggest the magazine find writers without academic credentials and titles. If they are engaged in one certain area, maybe they can submit articles to the magazine as well.”

Wang echoed these words, saying: “I hope that this magazine can be a platform to spread knowledge about the history of calligraphy, its techniques, education, appreciation and collection.”