Chinese calligraphy is an artistic expression of the Chinese writing system, and students from across the university were able to showcase their expertise at UWM’s first-ever Chinese Calligraphy Exhibition last month.
The exhibition, held from April 30-May 14 in the Union Concourse and Curtin Hall’s Oasis room, featured the final projects of Chinese language students who spent the semester immersed in the art of Chinese calligraphy, exploring a variety of script styles as part of the Chinese Calligraphy course. The class is taught in English and drew students from several UWM schools and colleges, including 12 from the College of Letters & Science.
“Chinese calligraphy is the art of using brush, ink stick, rice paper, and ink stone to create expressive and aesthetically beautiful characters. It is considered one of the highest forms of traditional Chinese art, deeply connected to China’s history, philosophy, and cultural identity,” explained Lu Yin, who teaches the course and is a senior teaching faculty member in UWM’s Chinese program. She organized the exhibition as a way to both highlight the skills her students gained and to share an important aspect of Chinese culture with the campus community.
Different calligraphy scripts and styles reflect the evolution of Chinese history, Yin noted. Many ancient texts, government decrees, and stone inscriptions were written in calligraphy, preserving historical events, philosophies, and ideologies. Calligraphy also embodies the Daoist principle of yin and yang, emphasizing balance and harmony. The practice cultivates patience, discipline, concentration, and inner peace, reflecting a unity of hand, mind, and heart. Traditionally, calligraphy was a core component of a scholar’s education. In imperial examinations and court culture, elegant handwriting was seen as a reflection of one’s character and intellect. Beyond academia, calligraphy plays an important role in festivals, weddings and memorials. Today, it serves as a cultural bridge connecting the past with the present.
The exhibition featured works written in various major script styles, including small seal script, known for its tall, slender structure and evenly spaced rectangular forms. Some students created their work using clerical script, recognizable by its wide, flat strokes with the signature “silkworm head and wild goose tail” stroke. Several students selected regular script, the square-shaped standard form widely used in modern Chinese writing, while others explored running style and cursive style, which allow more fluid, personal, and emotionally expressive brushwork.
Many graduating students used their calligraphy to reflect on their personal journeys by writing messages to their future selves, affirming self-love, embracing change, and committing to perseverance.
Linguistics major Kenji Rackoff selected the Chinese proverb “铁杵磨成针” (“Grind an iron rod into a needle”) and rendered it in both small seal script and regular script. The perseverance symbolized in this proverb reflects his work ethic and his approach to life, said Rackoff: Once he starts something, he is determined to see it through to the end and ensure it is done well, no matter the hardships or challenges he may face.
Other students used Chinese calligraphy to express deep gratitude to parents, siblings, and loved ones, including those far away or dearly departed. Several pieces conveyed tender romantic sentiments for significant others.
Accounting major Anqi Chen, a student moved by personal loss, wrote the verse “一夜思亲泪，天明又复收。” (“Tears fall through the night for a departed loved one, but are quietly gathered again by dawn”) from a Tang poem, using a clerical script. She dedicated the piece to her grandfather, who raised her and has passed away. The piece deeply resonated with viewers. One audience member left a touching note: “I also just lost my grandfather, like Anqi, and he still lives with me every day. I find his love in blessings and all things beautiful. You captured that love so well.”
Information science & technology student Branden Evans chose the phrase “春晖寸草” from a Tang poem by Meng Jiao, which compares parental love to the spring sunshine that nurtures young grass. He dedicated the piece to his grandmother, whose love and support have shaped him into the person he is today. “Without her,” he said, “I don’t know where I’d be today.”
Jean Baker, a senior auditor who has consistently taken Chinese language courses from elementary to pre-advanced levels, also contributed to the exhibition. During her visit to Yunnan, China, in the summer of 2023, she was inspired by the tradition of writing and pasting the character “福” (meaning “luck” or “blessing”) upside down on doors to celebrate the Chinese New Year. Drawing on this cultural experience, she created a piece featuring two versions of the character “福”: One upright and one upside down. Through her work, she explained the linguistic wordplay and symbolism behind the tradition through the lens of calligraphy.
Yin was proud of her students and excited to see that the campus community took time to appreciate the exhibition. She estimates that more than 300 people viewed the calligraphy pieces.
“Many students stopped to view the artwork, often bringing friends to share in their pride. Several visitors, including prospective students and their families, paused to ask questions or read the descriptions carefully. I had a meaningful conversation with a Malaysian student who reflected on similarities to his cultural background,” Yin said.
Together, these works present not only a striking visual tribute to the enduring beauty of Chinese Calligraphy but also a powerful, personal narrative of memory, gratitude, love, and transformation.
By Lu Yin, Ancient & Modern Languages, Literatures, & Cultures, and Sarah Vickery, College of Letters & Science