Ngan Siu Mui 2025

Across the globe, many individuals of Chinese descent have achieved remarkable accomplishments in Western art. Yet, there are very few Westerners who have truly mastered the art of Chinese calligraphy. To this day, calligraphy has not yet become a universally shared artistic language.

For nearly forty years, I have lived overseas, dedicating myself to the art of Chinese calligraphy and painting, always with the mission of promoting calligraphy. Most of my students are non-Chinese, and traditional teaching methods often leave them feeling disengaged. To help these art enthusiasts who do not understand Chinese characters — as well as young overseas Chinese — appreciate the intricacies of calligraphy and guide them to practice diligently rather than rush into creative work, I have put great effort into adapting my approach. Fortunately, teaching and learning go hand in hand. Faced with numerous questions, I have gradually learned to use everyday phenomena to explain the connection between calligraphy techniques and human movement, making abstract principles feel tangible and relatable.

Among Asian students, there are often those who seek quick results, believing they can achieve mastery in just a few months or viewing calligraphy as a simple skill that can be self-taught. In contrast, international students tend to approach learning with greater humility and diligence. Asian students often prioritize neat and precise character forms, which allows them to make faster progress in the early stages. Meanwhile, international students frequently ask questions, continuously generate creative ideas, and often demonstrate a stronger ability to perceive forms and grasp abstract concepts.

This booklet shares the story of my top disciple and dear friend, Jean-Yves Pelletier, a Western mathematics professor in his sixties who, despite not knowing Chinese characters, resolutely ventured into the realm of Chinese calligraphy. Not only did he transcend linguistic and cultural barriers, but he also reinterpreted the inner logic of calligraphy through his unique life experiences and academic insights. I gave him the Chinese name 【柏钟义】. The character 【柏】, derived from the initial sound of his surname, symbolizes resilience and evergreen spirit; 【钟义】, phonetically close to his given name, embodies the noble quality of "upholding righteousness." As the Qing dynasty scholar Liu Xizai noted in Art Essentials: "The nature of the brush and the essence of ink are both rooted in the character of the individual." Jean-Yves’s journey into calligraphy was not driven by novelty or pretension but was approached as a profound life practice. In his spare time, he has studied Argentine tango and the piano for over thirty years and has even personally participated in shipbuilding and construction projects. In everything he pursues, he engages with calm focus and bodily immersion. It is this rich tapestry of life experiences that enables him to naturally integrate the rigor of mathematics, the dynamism of dance, the rhythm of music, and the mechanics of engineering into his understanding of calligraphy.

"A mathematician, like a painter or a poet, is a maker of patterns. If his patterns are more permanent than theirs, it is because they are made with ideas." This statement by the British mathematician G.H. Hardy (1877–1947) aptly illuminates Jean-Yves's journey in calligraphy. He excels in interpreting the principles of character composition through spatial division and geometric balance, as well as explaining the rhythm of brushstrokes using mechanical models.

In his eyes, calligraphy is no longer merely a form of writing but an art that evolves from discipline into freedom.

Based on nearly four decades of overseas teaching experience and insights from Mr. Pelletier, I have authored An Introduction to the Art of Calligraphy: 《A Beginner's Guide to Calligraphy: An Interdisciplinary Introduction》 and 《A Cross-Art Dialogue: Chinese Calligraphy and Argentine Tango》 These works aim to reinterpret traditional calligraphic theories in an accessible manner, using clear language, straightforward mathematical and mechanical principles, and everyday analogies, in order to explore a more comprehensible and approachable path to mastering calligraphy.

Born in Montreal, Quebec, Canada, he was a mathematics professor at Bois de Boulogne College. Throughout his life, he embodied passion, wisdom, and elegance, achieving excellence across multiple fields including mathematics, calligraphy, dance, music, sailing, and construction. Since 2000, he studied calligraphy under Ngan Siu Mui and served as her long-term teaching assistant, dedicating himself to the overseas transmission and practice of Chinese calligraphic art. He became a vital bridge for cultural exchange between China and Canada. Below is an overview of his key cultural activities:

2024

• Served as an assistant to Ngan Siu Mui, teaching calligraphy at Notre Dame College in Montreal, Canada.
• Acted as an assistant to Ngan Siu Mui, organizing calligraphy workshops for the art community of Houston Community College in Texas, USA, held at Le Centre St-Pierre in Montreal, Canada.
• Presented personal calligraphy theories at the sharing and exchange session of the Taishan Overseas Chinese Innovation and Entrepreneurship Center in China.

2018

• Demonstrated calligraphy live and exhibited works at the [Ngan Siu Mui and Students Calligraphy, Painting, and Seal Engraving Exhibition] held at the Taishan Museum in China, while also serving as an advisor for the [Cultural Visit Delegation to China.]

2017

• Demonstrated calligraphy live at the [Rhythm of Chinese Art] event held at the Henri-Lemieux Cultural Community Center in Montreal, Canada.

2012

• Demonstrated calligraphy live and exhibited works at the "Global Chinese Calligraphy Exhibition Featuring the Thousand-Character Classic" held in Zhengzhou, Henan, China.

2008

• Demonstrated calligraphy live and exhibited works at the "Asia Art Invitational Exhibition" in Seoul, South Korea.

2006

• Demonstrated calligraphy live and exhibited works at the [Rhythm of Chinese Arts and Culture Exhibition] hosted by the Chinese Cultural Center in China Town, Montreal, Canada.

2005-2017

• On multiple occasions, he accepted invitations from the Korean Culture and Arts Research Association to exhibit his works at the [Asia Art Invitational Exhibition.]

2002

• Served as a key organizing committee member for the [Month of Chinese Calligraphy] event hosted by the Traditional Chinese Culture Society of Montreal in Canada.

In stillness and motion, East and West… both calligraphy and Argentine tango emphasize the control of [force].

Calligraphy and Argentine tango—one still, the other in motion; one from the East, the other from the West—appear to be two unrelated arts, yet they reveal astonishing commonality in their aesthetic essence and modes of expression. Calligraphy uses the brush, ink, paper, and inkstone as its medium, creating a three-dimensional art of line and composition on a two-dimensional plane through the lifting, pressing, pausing, and turning of the brush, as well as the density, lightness, wetness, and dryness of ink. Tango, on the other hand, uses the legs as the brush and the stage as the paper, crafting a dance of steps that advance and retreat, turn and pivot, while the body contracts and expands, relaxes and tenses, all flowing to the rhythm of music.

Both arts emphasize the control of force. In calligraphy, the restraint and containment expressed through techniques like [concealing the brush-point] (藏锋) and [returning the brush-point] (回锋) mirror the way tango dancers gather latent energy through subtle bodily tilts and delayed footwork, poised for release. Similarly, the [resistant momentum] (涩势) generated by [Delayinging the brush] (留笔) in calligraphy finds its parallel in the dancer's [Momentary pause] (暂驻) as feet glide against the floor—both capturing tension within flow and power within hesitation. These arts are never mere displays of technique; they are intricate syntheses of emotion, rhythm, and control, crystallized into dynamic expression through every stroke or every step and turn. This philosophy of restraint in motion, gathering in stillness allows both forms, though separated by time, space, and culture, to articulate a universal principle: [the interplay of stillness and motion, the marriage of strength and softness] (动静相生、刚柔并济). While deeply nuanced in skill, both remain accessible in physical demand, welcoming participants of all ages. Thus, it should come as no surprise to see a child wielding a brush with earnest clumsiness or an elder gliding across the floor in graceful dance—for in these arts, expression transcends age, and beauty thrives in every stage of life.

（1）Chinese calligraphy is often perceived as mystical and profound

• Chinese calligraphy, with Chinese characters as its medium, traces its origins to ancient legends. Classical texts such as 《Huainanzi》 (淮南子) record: "In ancient times, when Cangjie (仓颉) created writing, grains rained from the heavens, and ghosts wept at night." This phenomenon was interpreted by the ancients as: "The mysteries of creation could no longer be hidden, hence grains rained from the heavens; spirits and apparitions could no longer conceal their forms, hence ghosts wept at night." This origin story, imbued with mythological color, casts the first veil of profound mystery over the art of calligraphy. Coupled with the polysemy and abstract nature of traditional calligraphic terms such as [spiritual resonance] (气韵), [divine brilliance] (神采), and [bone-like strength] (骨力), beginners often feel as though they are [groping in the dark, unable to grasp the essence] (丈八金刚摸不着头脑).
• Even the French painter Noël Bernard (1868–1941) once lamented in his work 《The Spirit of Characters: On Chinese Calligraphy》: "We exhaust ourselves to create novel works of art, yet in calligraphy, there seems to exist something that transcends our modernity—as if a secret lies concealed within it."
• In his writings, Bernard praised Chinese calligraphy as an exceptional marvel in the world of art and offered the following interpretation:
  Chinese calligraphy is not a decorative art. It is a kind of [Dao], mobilizing the body, breath, spirit, and soul of the practitioner.
  Writing is the act of giving form to [qi] (气). The brush serves as an extension of the calligrapher’s body and intention.
  The movement of calligraphy engages the entire body—from the hand holding the brush to the feet rooted to the ground—in a dance between the body and the brush.
  One must transcend the [form](形) of the characters to reach their spiritual [essence] (神). Technical beauty is merely a step toward expressing vitality and individuality.
• While such discourse aligns with the spirit of Eastern art, its abstract language in explaining the beauty of calligraphy still deepens its perceived mystery. In the author's view, since Chinese characters originated from nature, the art of calligraphy has always been intimately connected to life. As the Russian ballet educator Agrippina Vaganova (1879–1951) remarked, "Look at life around you—everything is growing, moving forward. Therefore, I believe art must be closely linked to life." This article aims to bridge traditional calligraphic theories with tangible, relatable understanding through a cross-art analogy between Chinese calligraphy and Argentine tango. By translating core techniques into vivid, experiential terms and transforming them into accessible, practical teaching methods, it seeks to open a path for learners—one that is both approachable and profound—into the world of calligraphy.

（2) Calligraphy has yet to become a globally shared art.

• Having settled for nearly forty years in Montreal, Quebec—a city renowned as the "Cultural Capital of Canada" and imbued with French charm—this long journey abroad has allowed me to deeply experience the richness and collisions of cultural exchange between East and West. At the same time, it has made me acutely aware of the challenges facing the global dissemination of Chinese calligraphy: it has not garnered sufficient attention from most overseas Chinese communities, and the continuity of its legacy often relies instead on the open artistic mindset and spirit of exploration of Western enthusiasts.
• Mr. Jiang Chengqing (姜澄清 1935–2018), an art critic specializing in calligraphy and painting, noted in his 《Collected Essays on Calligraphy Culture》 (书法文化丛谈): "Over the past century, the decline of calligraphy has been caused by its own homeland, while its revival has, quite remarkably, been driven by foreign artistic philosophies—an extraordinary cultural phenomenon." Faced with such a reality, how could it not evoke a deep sigh from those who cherish calligraphy!
• Based on my extensive experience teaching calligraphy to adults in Western societies, Chinese learners generally exhibit a stronger [consciousness of writing](写字意识) than [artistic consciousness] (艺术意识)—they often perceive calligraphy primarily as a formal art. In contrast, Western learners are more drawn to the expressive imagery of calligraphy. Unfortunately, their lack of understanding and difficulty in memorizing Chinese characters pose significant obstacles in the learning process.
• In terms of global artistic sharing, the actual influence of calligraphy remains quite limited. Although modern Western abstract painters, such as France's Hans Hartung (1904–1989) and Spain's Joan Miró (1893–1983), once incorporated the imagery of Eastern calligraphy into their works, sparking a trend of Eastern-inspired art, these creations fundamentally have no connection to genuine calligraphic techniques. From the perspective of calligraphic heritage, such trends may even have a negative impact, encouraging practices where random scribbling is passed off as innovation. As a quintessential treasure of Chinese culture, traditional Chinese calligraphy possesses an elegant charm akin to that of ballet, yet it has not been widely shared and appreciated globally in the same way ballet has—truly a significant regret for this national art form.
• However, we must confront a question of our time: Can Chinese calligraphy, while remaining firmly rooted in its traditional and exquisite techniques, express a more contemporary spirit through the profound essence of its line art? This is indeed a direction that requires careful contemplation. Certainly, if we forcefully detach calligraphy from the formally perfected system of Chinese characters and turn to writing pure lines or scripts of other languages, the path would be arduous, and it might even deviate from its essence. As the Chinese calligraphy and painting critic Jiang Chengqing (姜澄清) poignantly noted, "Abandoning Chinese characters is not innovation — it is a wound." I deeply understand the gravity behind these words—the content of Chinese characters in calligraphy inherently integrates the profound literary and philosophical spirit of the Chinese nation. While appreciating the beauty of ink and brush in a calligraphic work, how can we overlook the depth of its textual meaning!

（3）Calligraphy is China's national art ~ Tango is Argentina's national dance.

• First, allow me to briefly elaborate on the origins and essence of Chinese calligraphy and Argentine tango.
• In his publication 《Elegant Grace》 (风姿流韵), Yu Ping (于平) describes: "When tango became a subject of study in the anthropology of dance culture, many scholars regarded it as an inwardly reflective dance—a melancholy contemplation transformed into steps. The rhythm, melody, and even the footwork of tango are infused with the history of the Argentine nation, becoming a symbol of its spirit." "When people in Buenos Aires dance tango, they neither smile nor indulge in unrestrained joy. What they reveal is a passion steeped in hidden sentiments… An Argentine dancing tango is contemplating their own fate, expressing a tragic understanding of life."
• Chinese calligraphy, on the other hand, originates from the ancient observation of "the curvature of the constellations and the patterns of tortoise shells and bird tracks, synthesizing their beauty into characters." Beginning with the primitive lines of pictographic scripts, it gradually evolved into an art of strokes that emphasizes subtlety in brushwork and vividness in artistic conception. Since ancient times, learning calligraphy has served as an initiation into aesthetic education for the Chinese. Practitioners perceive the forms of all things and the rhythm of life through the lifting, pressing, turning, and folding of the brush, ultimately elevating calligraphy into an art of emotional expression and lyrical abstraction. As Han Yu (韩愈) (768–824) wrote in his 《Preface to Seeing Off Monk Gaoxian》(送高闲上人序): "Zhang Xu (张旭) of old excelled in cursive script and devoted himself to no other skill. Whether in joy or anger, distress or poverty, sorrow or delight, resentment or longing, foolish intoxication or idle boredom, whenever his heart was stirred, he would express it through his cursive calligraphy." The ancients firmly believed that calligraphy was a practice for calming the mind and focusing the spirit—one that could dispel distractions, alleviate melancholy, and, through long-term cultivation, refine one’s character and even prolong life. Among the people, calligraphy has been deeply integrated into daily life. Whether in weddings, funerals, or festive occasions, hanging calligraphic works has long been a common custom, with some even believing in its power to ward off evil spirits. As for the residences of scholars and luminaries, how could they be without calligraphy? From renowned gardens and lofty towers to bustling streets and bridges, wineshops and teahouses, its traces can be found everywhere. Over millennia of accumulation, the techniques and spirit of calligraphy have continuously sublimated, making it a unique treasure of Chinese culture.

（4）A Cross-Art Dialogue: Chinese Calligraphy and Argentine Tango

• Any form of dance can, to some extent, provide imagery and inspiration for calligraphic creation. However, by selecting a dance that truly resonates with calligraphy, one can establish a richer and more multidimensional dialogue between the two, allowing for a more concrete and profound interpretation of the dynamic beauty inherent in calligraphy. In my 1998 publication, 《Chinese Calligraphy, Abstract Art, Mind Painting》, the Chapter 4 ‒ [Watching Lady Gong-Sun's Sword Dance] first delved into the connection between dance and calligraphy. In that piece, I attempted to draw parallels with social dance—a form familiar to audiences both in the East and the West—hoping to guide readers toward an understanding of calligraphic techniques in an accessible and engaging manner. Nevertheless, social dance, whether in form or spirit, ultimately falls short of fully capturing the essence of calligraphy.
• Ballet, as a paragon of global dance art, exhibits intriguing parallels with Chinese calligraphy in certain respects—for instance, the delicate control of the foot in pointe work might evoke the subtlety of the brush tip in calligraphic strokes. In this sense, ballet could be considered a potential candidate for comparative study with Chinese calligraphy. However, ballet's highly stylized and codified technical system often operates in tension with the natural physiological mechanisms of the human body. This dissonance frequently compels dancers to retire at the peak of their artistic careers due to physical limitations. Moreover, achieving excellence in ballet demands not only rigorous training but also innate physical gifts. The renowned ballet pedagogue Agrippina Vaganova chose to retire at the age of thirty-seven, at the height of her artistic prowess, precisely out of a clear-eyed recognition of the constraints imposed by age and bodily capacity.
• In contrast, the art of calligraphy appears more accessible and inclusive, largely unconstrained by strict limitations of age or physical constitution. Whether young or old, scholar or warrior, anyone can immerse themselves in the pleasures of brush and ink. In the act of writing, from the fingertips to the entire body, bones, muscles, joints, and even the rhythm of breath engage in a state of natural and harmonious motion. As Ouyang Xiu (欧阳修), one of the [Eight Great Masters of the Tang and Song], once reflected: "In my youth, I delighted in many pursuits. Yet as I reached middle age, they gradually fell away—some discarded out of weariness, others abandoned not for lack of passion but for lack of strength. Only calligraphy has grown deeper and more compelling with time, a practice whose joy never fades." The Ming dynasty master calligrapher Wen Zhengming (文徵明), at the age of eighty-nine, created his celebrated work Ode to the 《Red Cliff》(赤壁赋), later praised by generations as [free and flowing, with brushwork transcendent and spirit soaring] — a true embodiment of the sublime realm where [both the person and the writing reach maturity] (人书俱老).
• Both Argentine tango and Chinese calligraphy are inclusive arts that transcend age, welcoming participants of all generations with warmth and openness. In my quest to explore the choreographic essence of calligraphy, I have studied social dance, Argentine tango, and ballet under professional guidance, personally experiencing the kinetics of dance and the body's mechanics, and later extending these insights to the principles of calligraphic brushwork. Western dance pedagogy—whether in conveying imagery or analyzing movement—is highly systematic and methodological. This teaching approach has profoundly influenced my philosophy and practice of calligraphy instruction.
• On the other hand, the contribution of my accomplished calligraphy student and dance partner, Jean-Yves Pelletier, has been indispensable. With his long-term dedication to calligraphy practice and our shared participation in Argentine tango classes, we have gained profound insights through first-hand experience. Together, we have explored and validated the multilayered resonances—both physiological and psychological—between these two arts. Among various dance forms, Argentine tango proves particularly suitable for integration into calligraphy pedagogy. Its dynamic rhythm, bodily dialogue, and spatial negotiation deeply align with the energetic flow of brushwork, physical control, and compositional arrangement in calligraphy.
• The following discussion will first delve into the abstract dimensions that bridge these two arts, then progress to a concrete interpretation of their techniques. Throughout, we uphold a central metaphor: the brush-wielder is like the leader in dance, while the brush itself is the responsive partner who follows. Argentine tango is an improvised walking dance performed by two partners in close embrace, moving in sync with the music. Through the connection of arms and torsos, the leader and follower engage in a silent yet deeply attuned dialogue. This embrace in tango mirrors the act of holding the brush in calligraphy—both are embodied, living arts where the body serves as the primary medium of expression in the present moment.

Calligraphy ~ The Dynamic Beauty of [Motion Perceived in Tranquility]

Tango ~ The Static Beauty of [Tranquility Perceived in Motion]

Les danseurs de tango modifient sans cesse leur posture corporelle.
The continuously shifting postures of the two tango dancers
must convey a sense of grounded stability coupled with graceful bodily yielding.
---
As if
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Each character in calligraphy must be structurally grounded,
with strokes arranged in harmonious order.

A. Abstract aspects of Chinese calligraphy and Argentine tango

1. [Brush Power ~ Illusory Strength] (笔力 ~ 虚幻之力)

• The most celebrated historical parallel between calligraphy and dance is undoubtedly the Tang dynasty calligrapher Zhang Xu (张旭 685–759), whose cursive script mastery was profoundly inspired by watching the sword dance of Lady Gongsun (公孙大娘). From her performance, he grasped the undulating momentum and rhythmic flow of brush movement. Zhang Xu, famed as the creator of [Wild Cursive] (狂草), elevated calligraphy to a realm of unrestrained passion—his ink traces swirling like sudden thunder and lightning, traversing infinite space in an instant, with an unbroken continuity of energy. Though wildly expressive, his style never strayed beyond discipline, earning him the epithet "Zhang the Mad." His legacy deeply influenced later generations. The monastic calligrapher Huaisu (怀素 737–799) inherited his spirit and further developed a distinct style of wild cursive, described by later scholars as [Madness inheriting the Crazy] (以狂继颠) Together, they are revered as [Sages of Cursive Script] (草圣). Since then, the choreographic beauty inherent in calligraphy has been firmly established, with cursive script becoming the style most capable of expressing such imagery. Yet for most calligraphy practitioners, the inner mechanics and aesthetic implications of this dance-like quality remain elusive. In my view, Zhang Xu was in fact inspired by the [illusory strength] (虚幻之力) embodied in Gongsun Daniao’s sword dance, through which he apprehended the imagery and artistic realm of brushwork.
• In his monograph 《Elegant Grace》(风姿流韵), Chinese dance theorist Yu Ping (于平) observes: "Dancers create imagery of an [illusory strength] — a force not in the physical sense, but an immaterial, emotionally charged dynamic expression." This "illusory strength" is seen as an outward manifestation of the dancer's inner life and a symbolic articulation of emotional concepts. Correspondingly, the calligrapher's [brush power](笔力) is also an imagery of [illusory strength]. It is not merely the trace of ink moving on paper but a concrete externalization of the writer’s inner emotions, spirit, and temperament. Both arts employ refined technique to transform a moment’s state of mind into [illusory strength]. It is precisely for this reason that predecessors aptly summarized calligraphy as Mind Painting] (心画).
• In the Southern Song dynasty, Jiang Kui (姜夔 1155–1209) wrote in his Sequel to the 《Treatise on Calligraphy》(续书谱): "Whenever I examine the works of ancient master calligraphers, I see every dot and stroke pulsating with life, as if witnessing the very moment the brush was wielded." Earlier, during the Eastern Han, Cai Yong (蔡邕 133–192) stated clearly in his 《Nine Forces》(九势): "Conceal the beginning, shield the ending—let strength dwell within the character. Apply force in wielding the brush, and the beauty of flesh and bone will emerge." By the Tang dynasty, Sun Guoting (孙过庭 646–691) further elaborated: "All subtleties converge where skeletal strength is preserved; once the skeletal framework is established, vigor and moisture may be added." These masters unanimously point to the same truth: the [brush power] (笔力) in calligraphy is illusory, yet it constitutes the very essence of the art's vitality and spiritual resonance.

2. [Heart at ease ~ Spirit delighted] ( 心旷神怡 ~ 快感)

• Both calligraphy and dance are arts brimming with dynamism, their vitality extending from the creator to the beholder. Dancers express with the [Movement of their feet] (足之蹈之), presenting graceful forms before the viewer’s eyes; calligraphers perform with the [Dance of their hands] (手之舞之), transforming into the lively dance of ink traces before the observer’s gaze.
• Both are arts whose essence lies in movement unfolding through time, extending this dynamic creative process into the aesthetic experience of the viewer. Dancers can physically sense the motion of their own bodies, while the audience can only perceive the dynamic changes visually, deriving a sense of [Spirit delighted] (快感) from them. Calligraphers, however, not only feel the rhythm and strength of the brush as they write but also witness the dance of ink on paper. The viewer, in turn, perceives the momentum and vitality crystallized within the static strokes, thereby experiencing a state of [Spirit delighted] joy. In other words, the aesthetic appreciation of both arts relies on the viewer’s active engagement. Through vision and imagination, the viewer reconstructs the ever-changing kinetic journey of the artist’s creation, completing a secondary re‑creation of the dynamic art within their own mind.

3. [Absorption into the moment ~ spirit yearning] (凝神入境 ~ 心驰神往)

• Tango dancers must be enthralled and transported, fully immersed in the music’s rhythm, merging seamlessly with the melody. As inner emotions surge, the body responds naturally, with each step precisely rendered through refined skill. Dancers must interpret the music with rich imagination and feeling—moving too slowly risks stagnation, too hastily leads to restlessness. Only when pace and rhythm are balanced with clarity can the delicate, moving expression of the dance unfold.
• When writing calligraphy, the calligrapher must enter a state of [Absorption into the moment] — where the mind perceives the imagery, the hand responds accordingly, and the subtle control of ink flow is mastered. The moment ink permeates the xuan paper is like the instant dialogue between the tango dancer's feet and the floor—neither correctable nor hesitant. The dancer, enthralled by the music's rhythm, does not dance merely for the steps but must move forward and retreat with freedom, unhindered by attachment or departure. A skilled calligrapher, absorbed in the [Absorption into the moment] of artistic realm, aligns intention with the brush, uniting mind and hand, wielding the brush with practiced ease and composed mastery.

4. [Restrained Strength-Yin Force ~ Supple Resilience] (忍力-陰力 ~ 柔韧)

• Tango and calligraphy both pursue a profound synergy between intention and body. Outwardly, they may appear as mere physical movements, yet in truth, they rely on the undulations of emotion to regulate inner strength, allowing it to unfold with grace. A relaxed state of mind is key for both dancers and calligraphers to maintain bodily flexibility and fluidity—enabling movements to flow freely while leaving space for breath and spontaneous adjustments. Dance steps and brushstrokes should respond to momentum, adapting as motion unfolds; this is the essential foundation for achieving excellence in either art. If the body becomes rigid and loses its suppleness, both dancer and calligrapher will find themselves in a state of [Being unable to move forward] (行不得也) Steps or strokes may become fragmented and disjointed, making it difficult to attain harmonious resonance.
• The beauty of the calligraphy brush lies in its suppleness and resilience. As Cai Yong (蔡邕 133–192) of the Eastern Han dynasty wrote in his Nine Forces: "When momentum arrives, it cannot be halted; when it recedes, it cannot be restrained. Only because the brush is soft can wonder arise." This statement not only points to the infinite variations made possible by the brush's flexibility but also implies that the wielder must possess corresponding suppleness and sensitivity to move with the momentum and create extraordinary ink imagery. In the hands of a skilled calligrapher, a fine-quality brush should respond like an excellent dance partner following the leader's steps—fluid in yielding and rising, perfectly attuned in release and response.
• Both calligraphy and tango emphasize the principle of [Restrained strength] (忍力)— a force that is inward, yielding, and held in reserve, distinctly different from outwardly exerted masculine vigor. When wielding the brush, the tip should lightly touch the paper, avoiding heavy pressure that leads to stiffness; when dancing, the feet should graze the floor like feathers, never stomping like thunder. Only by maintaining a supple and agile body can this restrained strength flow unimpeded, allowing brushstrokes and dance steps to unfold with the continuity of a floating cloud and flowing stream, accomplished in a single, unbroken breath.

5. [Creating imagery] (营造意象)

• Imitation is a uniquely human and vital capability, forming the cornerstone of our learning, cognition, and even cultural evolution. Yet, much like life itself, imitation in tango is merely a starting point—true artistry lies in the infusion of personal style. In tango, steps are not mere reproductions of fixed patterns; they emerge naturally from the dancer’s immersion in the music, a fusion of body and soul that gives rise to the [Creating imagery]. The movements born of this deep bodily awareness often reveal richer and more profound layers of expression. Similarly, when the calligrapher’s mind is brimming with imagery, it sparks imaginative flow, guiding the brush to sweep with vigor and freedom. At such moments, writing transcends mere conveyance of literal meaning and becomes a inner fluid of [Creating imagery].
• Dancers are never mere mechanical responders to sensory stimuli, nor are calligraphers simply transcribers of words. They pour personal reflection and spirituality into every step and stroke. The expressive power of dance and calligraphy arises precisely from the [Creating imagery]. It subtly shapes the rise and fall of each dance step and the turning points of every brushstroke. Each dancer and calligrapher, in their own unique way, weaves this subtle inner structure into a complete and moving work of art.
• As explained in Chapter 1 of my publication 《Chinese Calligraphy, Abstract Art, Mind Painting》published in 1998: "Imagery is a concept formed by the artist through personal sensitivity, emotion, and cultivated insight, distilled over time from quiet contemplation of the forms and movements of all things in the universe. When writing, it is revealed through distinctive lines that harness the qualities of the brush and paper—this constitutes the spirit of calligraphic art. For example, Lady Wei (卫夫人 272–349) of the Jin dynasty used [a falling stone from a high peak] (高峰坠石) to describe a dot, and [a thousand-mile stretch of layered clouds] (千里阵云) to depict a horizontal stroke..." (For the full text, please refer to the website: ngansiumui.com)

6. [Improvisation] (即兴创作)

• The most captivating aspect of Argentine tango and calligraphy lies in that spark of improvisation (即兴创作) — creating possibility within the seemingly impossible. Their mystery resides in the fleeting moment: how to mobilize available energy, select the most effective movement, and precisely capture the partner’s suggestion (or grasp the brush’s immediate state), thereby leaping into a unique realm of creation. Tango is not a solo monologue, nor is calligraphy an unconscious dragging of the brush. Both the leader and the partner, the writer and the brush, must possess corresponding physical flexibility and skill. Every movement must be guided by the partner’s response (or the condition of the brush tip) and harmonized inwardly with one’s own imagery, coordinating the entire body in real time to achieve the synchronicity and unity of improvisation.

7. [Intent Precedes the Brush ~ Motivation] (意在笔先 ~ 动机)

• Every movement in tango originates from an inner motivation. While the body may appear still, beneath the surface lies a deep and gathering energy—a readiness to spring into motion. All of this is nurtured within the tranquil yet sensitive connection of the embrace between partners, initiating a gradual and regenerative dynamic process. The unfolding of each movement must carry a focal motivation, ensuring every step arises from a sense of necessity rather than arbitrary will. Where there is cause, there is consequence; without focused motivation, coherence of momentum and inner vitality are lost. Motivation thus serves as the prerequisite and decisive factor that enables the tango leader to initiate movement.
• The calligraphic principle of [Intent precedes the brush} speaks to the essential role of motivation. The true driving force behind brushwork must ultimately arise from within—which is why calligraphy is also called the [Mind painting]. Only when one [grasps it with the mind and responds with the hand] (得于心而应于手), can one attain the state where [The hand does not govern the movement, but the wrist does; yet even the wrist is governed by the heart] (手不主运而以腕运, 腕虽主运而以心运) Without [Intent precedes the brush] as a guide, all would be mere reckless scribbling—how then could one speak of [managing space] (布白) in composition or the vital energy beneath the brush!
• In the intimate embrace of the dance, the leader’s guidance must be clear and concise, yet delivered with calmness and ease, so the follower can perceive it distinctly and respond fluidly. This principle finds its exact parallel in calligraphy—the hand holding the brush and the brush tip must move in harmonious synergy. The follower may adapt flexibly, delaying, deviating, or even creatively questioning the lead, which infuses the dance with both challenge and intrigue, testing the leader’s ability to improvise. Just as the brush tip may splay or deform due to friction on the paper, requiring the writer’s refined skill to adjust its posture, so too does tango depend on a compatible partner, just as calligraphy relies on a well-crafted brush in hand.

8. [Miniature universe] (方寸空间)

• Tango is an art imbued with a mystical aura, where movements—now emerging, now receding—unfold in the silence of entanglement and embrace, expressing the complex and ever‑changing inner emotions of humanity in a restrained manner. The Chinese calligraphy and painting critic Jiang Chengqing (姜澄清 1935–2018) wrote in his 《Essays on Calligraphy Culture》(书法文化丛谈): "Calligraphy is the most enigmatic art. Within an extremely confined space of existence, it creates inexhaustibly beautiful forms, subtly and implicitly conveying the intricate emotions of humankind." Both are arts that seek freedom within constraints, revealing the grandeur of the world in a space of just a few inches, [Miniature universe].
• When dancing tango, the dancer immerses their spirit completely in the music within a confined space. With inner realization guiding the body’s response, each step is precisely expressed through refined skill. The dancer must interpret the music with rich imagination and sensitivity—moving too slowly risks stiffness, too hastily leads to restlessness. Only when pace and rhythm are balanced with clarity can the delicate and moving narrative of the dance unfold. Similarly, when practicing calligraphy, the writer focuses their mind within the compact space of the paper, attuned to the imagery of ink and brush. As the heart comprehends, the hand responds, regulating the flow of ink with subtle control so that every rhythmic segment of the brushstroke becomes distinctly visible. Guided by the imagery within, the writer moves the brush with lifts and pauses, swift or restrained, advancing and retreating freely. In this way, the work naturally transcends the ordinary, radiating vibrant spirit.

9. [Reflecting the person] (如其人)

• The basic steps of Argentine tango are simple and concise, much like the fundamental strokes of Chinese characters—both arts begin with minimal forms yet give rise to infinite expressive variations. Whether dancer or calligrapher, each enjoys the freedom to improvise and restructure movements or brushstrokes in an instant. Precisely because they do not pursue the ornamental perfection or rigid formalism of ballet or decorative lettering, they more easily strip away technical embellishment to reveal the individual’s behavioral traits and inner temperament directly. Thus, one need not see a dancer’s face to recognize them—observing the rhythm of their movement suffices; just as in appreciating calligraphy, the shifting traces of the brush offer glimpses into the writer’s character. As the ancient saying goes: “Writing is likeness—likeness of one’s learning, likeness of one’s person, likeness of one’s intent; in short, it is entirely a likeness of the person.” Brush traces are an extension of the heart’s traces; dance posture is a projection of one’s nature. As Xiang Mu (項穆 1550–1600) of the Ming dynasty stated even more directly in Elegant Discourse on Calligraphy: “Since human character differs and temperament varies, the momentum of the brush naturally reveals integrity or distortion.” This renowned dictum on calligraphy could not be more fitting in interpreting tango’s quality of [Reflecting the person] — the inner world of an individual is ultimately laid bare, without concealment, in the dynamic forms they create.

B. Correspondences in Technique between Chinese Calligraphy and Argentine Tango

1. [Holding the Brush ~ Embrace] (执笔 ~ 环抱)

• No other dance emphasizes the embrace — the way two partners encircle each other with their arms — as profoundly as Argentine tango. A proper embrace allows dancers to connect closely, enabling both to sense each other's center of gravity and move as one unified body, generating mutual momentum to advance, retreat, and pivot. Through contact along their arms and torsos, and within an appropriate spatial distance, the man and woman establish a silent dialogue. The embrace is the origin of all movement; only through a delicate and fitting connection can their mutual sensitivity resonate, allowing steps to follow each other in motion without falling out of sync. Leading and following extend far beyond the push and pull of the arms—they arise from a subtle lean of the chest, a rotation of the spine, a shift in weight, even the shared rhythm of breath. Tango is a full-body symphony, a dynamic balance and harmony achieved between two people in motion. If one relies solely on forceful pushing or pulling with the upper limbs, the steps will inevitably turn rigid and stagnant, losing all fluid grace.
• In calligraphy, the writer is the active leader, while the brush acts as the responsive partner. The position, angle, and pressure of the fingers holding the brush must follow the principle of [fingers close, palm hollow] (指密拳空). [Fingers close] ensures that the writer and the brush are united like two dancers in an intimate embrace; [palm hollow] resembles the appropriate spatial distance maintained between partners. Only in this way can the strength of the whole body be transmitted smoothly to the brush tip, allowing the writer to sensitively perceive every subtle rhythm of the brush’s movement on the paper. This awareness enables the regulation of pressure, speed, lift, press, turn, and pause—ultimately achieving a fluid harmony between mind and hand.
• The brush moving across the paper does not merely trace characters—it leaves imprints of the heart; ink soaking into the paper is not just dark marks—it extends emotion and breath. Calligraphy is not merely writing; it is a passionate, rhythmic, and intelligent dance between the calligrapher, the brush, the ink, and the paper.

2. [Dance of the Hands ~ Leap of the Feet] (手之舞 ~ 足之蹈)

• The dancer's [leap of the feet] transforms inner rhythm and emotion into the graceful forms beheld by the viewer, extending the kinetic art from creator to observer. Tango is a dance built on walking, emphasizing how to co‑create with a partner in motion. The leader does not merely execute steps with the feet but must engage the whole body in guiding the follower—rooting from the soles of the feet, channeling energy through knees, hips, and spine, and finally conveying clear intention through the lean of the chest and the flow of weight. It is this full‑body commitment that fills the dance with fluid dynamism.
• The calligrapher’s [dance of the hands] requires channeling the body’s kinetic energy with precision to the tip of the brush—a feat impossible through finger and wrist strength alone. It demands the coordinated engagement of the wrist, elbow, shoulder, and even the waist, working in harmony to produce strokes that unite mind and hand, transforming into the vibrant dance of ink traces before the viewer’s eyes. If one merely drags the brush with the fingers, the lines will inevitably appear feeble and lifeless.
• As the Southern Song dynasty critic Jiang Kui (姜夔 1155–1209) insightfully observed in his Sequel to the 《Treatise on Calligraphy》(续书谱}: "Whenever I examine the works of ancient calligraphy masters, every dot and stroke seems to vibrate—as if I were watching the very moment the brush was wielded." The stillness of the ink traces appears to pulse unceasingly because it retains the complete dynamic process, allowing later viewers to glimpse the instant the calligrapher’s hand once moved. This resonates profoundly with the timeless principle laid out by Cai Yong (蔡邕 133–192) of the Eastern Han in his 《Nine Forces》(九势): "Conceal the beginning, shield the ending—let strength dwell within the character. Apply force in wielding the brush, and the beauty of flesh and tone will emerge." Here, [force] (力) resembles the sinews and bones hidden within each stroke, while [beauty] (丽) resembles the radiant glow of healthy, supple skin expressed through the brushwork.

3. [Upright Brush Tip ~ Steady Center of Gravity] (立锋 ~ 重心站稳)

• [Steadying the Center of Gravity] and [Upright Brush Point] are fundamental principles in dance and calligraphy, achieving profound artistic resonance through balance and control.
• In Argentine tango, the dancer must extend and align the body upward from the ground, standing upright and centered, supporting the body on a single foot. With the spine as the axis, the full weight of the body settles steadily into that one foot. This solid stance is the foundation of all intricate steps. Only when the center of gravity is firmly grounded can movements remain crisp and clear, can the leader’s signals be transmitted unmistakably, and can both sudden pauses and rapid turns be executed with composure and tension. Once balance is lost, the silent dialogue within the embrace breaks, and the dance dissolves into disarray.
• The grounded stability in tango finds a profound echo in the calligraphic principle of [Upright Brush Tip] (立锋). This refers to the state where the brush tip remains erect during movement, with the focused energy of the stroke concentrated at its very point. When the brush tip stands upright, the lines are imbued with structural strength — like an awl etching sand (如锥画沙), with force penetrating through the paper. If the brush tip collapses and lies flat on the paper, the lines become floating and feeble, losing all vitality and spirit. To achieve an upright tip, one cannot rely on forceful pressing or hard pressure against the paper. Instead, it requires the integrated strength of the entire body—channeled through a steady lifting of the wrist—transmitting power with precision and subtlety to the very extremity of the brush tip. As Sun Guoting (孙过庭 646–691) of the Tang dynasty wrote in his 《Treatise on Calligraphy》(书谱): "Within a single stroke, undulations shift at the tip of the brush; within a single dot, twists and pauses vary in the finest hair of the bristle." This speaks to the infinite transformations possible within the minutest range of the brush point — all rooted in mastering the art of [Upright Brush point] to its utmost refinement.
• The brush point is like the dancer’s feet: just as the tip must stand upright, the dancer’s feett must settle steadily. The brush point rests on the paper, guided by subtle sensations in the wrist and fingers that center the brush’s weight at its point — much like the dancer’s body weight anchors itself upon a single foot. [Upright Brush point] is not a rigid, lifeless stance but a unity of stability and fluidity, aimed at enabling smooth, continuous movement of the brush. Similarly, the dancer’s grounded stability is not the end of motion but the foundation for more precise, liberated dancing.
• Thus, whether upon xuan paper or across the dance floor, the moment of [Upright Brush point] and [Steady Center of Gravity] — that stillness within presence — becomes the very source of potential for the next movement. The turning of the brush and the turning of the body never depart from the mastery of balance. This is the profound resonance between the techniques of calligraphy and tango at their very root.

4. [Delaying the brush movement ~ Momentary Stillness] (留笔 ~ 暂驻)

• The steps of tango and the brushstrokes of calligraphy can both be divided into three parts: the beginning, the middle (from start to finish), and the ending. The speed and technique employed in each of these phases are crucial. In calligraphy, this is termed [Delaying the brush movement] (留笔), while in tango it is the [Momentary stillness] (暂驻)—a skill that is often overlooked or difficult for most amateur learners to master.
• In tango, moving from the beginning to the end of a step is never merely a simple shift of position. The dancer must ground themselves in their center of gravity and modulate the pace freely in harmony with the musical rhythm. Through subtle resistance and friction between the feet and the floor, a controlled drag is created, giving rise to momentary stillness. This momentary pause is not a true halt but a rhythm within flow—a gathering of energy poised to burst into the next movement. The beauty of the [Momentary Stillness] (暂驻) in tango lies in never rushing after steps, but instead gliding gracefully between acceleration and delay. By mastering the technique of "momentary stillness," the body arrives precisely and elegantly at each intended position.
• The [Momentary stillness] in tango is akin to [Delaying the brush movement] (留笔) in calligraphy. The calligrapher must guide the brush with the tip centered, concentrating the body's full energy at the very point of the brush — akin to the dancer grounding their center of gravity. Only in this way can one masterfully control the flow and halt of ink, achieving precise modulation of lifting, pressing, pausing, and varying the speed of movement, steadily guiding the brush from the beginning to the end of a stroke. In this process, the technique of [pausing the brush] is particularly crucial, especially during the middle phase of the stroke. This intentional, subtle delay is not stagnation but a deliberate [resistant momentum] (涩势) created through controlled friction between the brush point and the paper, regulating the strength and rhythm of the stroke. Only then does the written line acquire a three-dimensional quality—vivid, resilient, and alive.
• The Song dynasty scholar Ouyang Xiu (欧阳修 1007–1072) grasped this truth profoundly: "Learning calligraphy is like sailing against a swift current— you exhaust all your strength yet seem not to move from where you began." These words vividly capture the essence of [Delaying the brush movement], conveying the resistance born of deliberate slowness in brush movement. As the moistened brush point advances gradually across the paper, it gathers astonishing force within each pause and turn—much like the eternal struggle between water and vessel when rowing upstream.

5. [Circle and Square Intertwined ~ Strength and Softness Balanced] (方圆互生 ~ 刚柔相济)

• The dancer uses their feet as a brush tip, each step tracing flowing lines across the invisible canvas of the floor. Pure circular arcs are soft and continuous, yet to express strength and vigor, the arc must often be broken — interrupted by angular, punctuated strokes that cut through the fluidity. Thus, through the interplay of curved and straight movements, the dancer shifts between forceful pauses and gentle turns, creating a body language of immense tension in the alternation of strength and softness.
• This dialectic of hardness and softness finds perfect resonance in the art of calligraphy. The fundamental strokes of calligraphy also embody two complementary aesthetic orientations. The brushwork exemplifies [straightness with a hint of curvature, and curvature with a hint of straightness] (直中见曲, 曲中见直): within firm, straight lines lies an undulating quality, lending strength without rigidity; within graceful, curved lines resides a sense of directness, bestowing softness without frailty. Hardness and softness merge to achieve an expressive richness full of tension. Furthermore, the angular, sharply defined [square strokes] (方笔) showcase a masculine vigor, while the smooth, flowing [round strokes] (圆笔) present a feminine elegance. Thus, square and round strokes give rise to each other, and hardness and softness complement each other, achieving unity amidst contradiction and creating an artistic realm that is ever-changing yet coherent in spirit.
• Throughout the natural world, absolute straightness is almost nonexistent. Whether in the growth of trees, the undulating contours of mountains, or the winding paths of flowing water, all forms embody a fusion of straightness and curvature—a harmony brimming with vibrant vitality. As an art that draws inspiration from nature, calligraphy strives precisely for this innate vitality.

6. [momentum and positioning] (Position of Influence 势位)

• Calligraphy and dance both prioritize the seizing of [momentum and positioning]. That seemingly frozen moment in posture is never true stillness, but rather a continuation of motion—the concealed beginning of the next movement. It is the indispensable energy hub within all coherent rhythms.
• In calligraphy, [position] (位) refers to the specific placement, orientation, and structure of strokes and characters within the spatial composition of the paper. It is both a concept of distributing strokes and arranging space, as well as achieving balance and stability in composition. Calligraphers plan position by envisioning the form of characters in advance, embodying the principle of [Intention precedes the brush] (意在笔先), [Momentum] (势), on the other hand, refers to the dynamic tendency, force, and rhythm inherent within strokes and between characters. It is a dynamic and temporal concept, involving direction, speed, and energy. Momentum is created through the swiftness and restraint of brush movement, as well as the curvature and straightness of lines. A character on paper, through the lifting and pressing, pauses and turns, and subtle connections of brushwork, exhibits a sense of motion within stillness, as if it is about to move in a certain direction—this is momentum. When wielding the brush, the brush handle is not always perfectly perpendicular to the paper. Instead, it tilts slightly according to the brush’s momentum—leaning left or right, inclining forward or backward—thereby concentrating the force at the tip of the brush. Similarly, the technique of returning the brush tip at the end of a stroke is used to control the brush’s movement, not only to complete the current stroke gracefully but also to prepare for the initiation of the next stroke, subtly determining the trajectory of momentum and direction.
• In dance, a dancer's specific coordinates on the stage represent the static [position]. Through precise footwork and bodily control, the dancer occupies key points on the floor, forming a highly expressive static pose, which in itself constitutes a distinct [position]. These points, much like the structure of a character in calligraphy, embody a center of gravity, expansiveness and contraction, as well as density and sparsity.
• The dancer uses preparatory movements to generate [momentum] — small motions in the opposite direction to amplify the force of the main action. This resembles the calligraphic technique of concealing the brush tip (藏锋) at the start of a stroke, where an opposing motion is essential, as in [intending to go right, first move left; intending to descend, first ascend] (欲右先左, 欲下先上) Both calligraphic character composition and tango steps skillfully tread the edge of imbalance before swiftly restoring stability — a process filled with thrilling [momentum]. Whether wielding the brush or dancing, rhythm must align with breath: inhaling to gather momentum, exhaling to release force. Breathing itself becomes the rhythm of [momentum].

7. [Restore the brush point ~ Feet together] (锋还原 ~ 足归位)

• In Argentine Tango, the conclusion of each dance step emphasizes returning both feet to their starting position — with the feet fully together or as close as possible. This [feet reset] (足归位) is not merely an adjustment of posture, but a crucial measure to ensure bodily balance, prevent a loss of center of gravity, and thereby gather momentum for the next movement.
• The use of the brush in calligraphy resonates deeply with this spirit. At the completion of each stroke, the brush point must be restored through delicate lifting and pressing, much like the resetting of the feet in dance. During the execution of a stroke, the brush point spreads and expands due to friction with the paper. Yet, at the moment of concluding the stroke, the dispersed bristles must be gathered back together, returning to their conical form (锋还原). In this way, the brush point avoids becoming disordered, maintaining its upright posture and resilience at all times, thereby preparing for the [issuing of the point in all directions] (八面出锋)in the next stroke, and enabling the creation of lines that are both powerfully concentrated and imbued with form and spirit.
• In short, dance relies on the [Feett reset], while calligraphy depends on the [Restore the brush point]. This fleeting moment marks both the perfect conclusion of the previous action and the vibrant beginning of the next creation. By returning to the origin amidst change, one finds balance in motion, ensuring an unending cycle of vitality.

8. [Overall calligraphy composition ~ Choreography] (章法 ~ 编舞)

• An outstanding piece of calligraphy can be described as solidified dance; a captivating dance sequence is equally akin to flowing ink.
• A calligrapher plans the [Overall composition] (章法] of a work on paper with a brush: arranging the spacing between characters, controlling the thickness of strokes, and harmonizing the rhythm of brush movement. Within the overall layout of the composition, if a character or a group of characters appears tilted or imbalanced, balance can be restored through the connections and interactions between strokes or by skillfully adjusting the posture of the characters. Similarly, a tango dancer designs choreography (编舞) with their feet on the floor: orchestrating the density of space, arranging the gathering and dispersal of dance poses, and mastering the contraction and expansion of body movements. In the interpretation of a piece of music, seemingly unbalanced postures may be deliberately introduced, only to be stabilized through unexpected movements, thereby creating visual highlights and tension.
• Both, in their own ways, carve form through time and compose rhythm through space, ultimately mastering the interplay of movement and stillness, fullness and emptiness, to forge an artistic life brimming with vitality and natural harmony.