Chou Wen-chung
Calligraphy
[continued]
When an experienced person views calligraphy, he/she can well imagine all the movements that occurred in creating the calligraphy. But we have to remember that all of these movements are strictly for the purpose of structure rather than dramatizing the process of creativity. What is explicit here is that the creation of calligraphy is a four dimensional process. What appears on paper represents a notation of the art rather than the toality of the artwork, which, however, is conjured up or recreated in the mind of the experienced viewer.
To sum it up, I feel that brush calligraphy is so relevant to a composer, because of the involvement of space and time, as well as movement, which is the reason many people believe calligraphy is different from Western painting or drawing. The difference is that in calligraphy, retouching or alteration after the fact is not tolerated. It is an art that requires detailed conception in the mind so that it can be executed instantaneously, instead of starting with a sketch and then gradually building it into a complete oil painting.
Examples
Calligraphy by Huang Junbi.
Calligraphy by Wang To.
Calligraphy by Ru Kuei.
Calligraphy by Huang Tingjian.