The second property is that Chinese calligraphy is an art with classical aesthetics. Throughout Chinese history artistic criteria have varied in different periods. Zong Baihua, a renowned Chinese aesthetician, claimed that calligraphy can help people understand the different aesthetics of different periods in Chinese history. In other words, despite the abstract nature of the shapes, calligraphy embodies the spirit of Chinese classical art in the most concise way – with variable lines and flowing rhythm and requires a strict and accurate observance of its subtleties and connotations.

Unlike some art forms that last only briefly, Chinese calligraphy has stood the test of time and has accumulated tradition, complex rules and rich connotations. However, this isn't to say that older art forms possess more vitality. I would not interpret the idea of classical aesthetics in this way. Instead, I believe time cannot be used as a yardstick to judge if an art form is old or new, advanced or backward. An ancient art form is not necessarily conservative and modern pieces may sometimes not represent the mainstream of the time.

The third property is that Chinese calligraphy is a refined and graceful art. Traditional calligraphy channels our ancestors' wisdom. Numerous masters throughout history have devoted themselves to the development of calligraphy, revealing their insightful thoughts and the spirit of classical art in every stroke of their characters. Those who were engaged in traditional calligraphy were well-educated, whereas painters, sculptors and architects of that time did not possess high levels of education. This, however, has nothing to do with lowliness or nobleness of an art form. The cultural value of calligraphy lies in the elegant manner of its creation. Without culture as a bolster, a work can be nothing more than simple imitation. We should cultivate artists with good sensibilities so as to create more works with high cultural value. Only artworks with great depth and breadth have the power to touch the masses, and it is the masses that constitute our genuine target group.

 Three Realms

To me, a successful calligrapher should attain the following "three realms" so as to ensure the continuing purity of the three properties mentioned above.

First, a calligrapher must bear in mind that practice is the key to success. Most historically famous calligraphers started to learn their skills at a very young age and kept practicing throughout their careers, laying a solid foundation for their achievements. Today's calligraphers often set a target for art-making at the very beginning of their artistic life. They do however benefit substantially from advanced technologies that are helpful in broadening their vision. Once they combine hard work and the favorable conditions of modern times together, they are able to become masters of calligraphy.

Second, continuing to study ensures a calligrapher's good taste and enhances the results of hard work. Calligraphers should carry forward five elements in their work – culture, elegance, purity, tranquillity and talent. They should also avoid five defects, namely inelegance, mediocrity, and lack of originality, exaggeration and impetuosity, confusion, and a tendency towards the domineering. To make a quality piece, calligraphers should make efforts to broaden their knowledge base and deepen their level of cultivation.

Last but not the least, capability also plays an important role in calligraphy. Capability does not just refer to one's natural endowment of talent, but also to the two realms mentioned above – hard work and continuing study. Innate talents and acquired abilities are complementary. A successful calligrapher must possess all three realms simultaneously.