Chinese calligraphy, practitioners say, is built on discipline, breath control and years of unwavering practice.
Each brushstroke gives life to a character. Yet it is not merely a movement of the hand.
True calligraphy calls for controlled breathing, steady posture and a deep sensitivity to structure and balance. A slight lapse in focus can disrupt the harmony of an entire composition.
Federation of Calligraphy Society Malaysia president Ng Swee Kheng said mastery requires long-term commitment, as every character carries its own structure and technique.
“Calligraphy must be practised consistently. If you stop writing for some time, your hand loses its sharpness.
“I have been learning it since I was 15, and even now I spend four to five hours a day practising,” he said when met at the Chinese Calligraphy Demonstration Session during the 2026 Titih Pusaka Festival organised by the National Academy of Arts, Culture and Heritage.
Ng said such discipline is essential to ensure the art continues to thrive within Malaysia’s multicultural society.
Encouragingly, interest has been growing. He cited events such as the Kuala Lumpur World Calligraphy Carnival 2024 and the 2026 National Huichun Calligraphy Convention, which drew thousands of enthusiasts from diverse backgrounds.
“Our aim is to make the art of writing – whether Chinese, Roman, Jawi or Tamil – a shared heritage for all Malaysians,” said Ng, who has more than four decades of experience.
Following the enthusiastic response, his team plans to hold a special exhibition in conjunction with the country’s 70th National Day celebration, showcasing calligraphy as a symbol of unity.
“I want all races to come together to write the independence theme. Calligraphy no longer belongs to one race – it reflects the Malaysian spirit,” he said.
Ng added that Chinese calligraphy in Malaysia has evolved its own identity by incorporating local elements such as batik motifs and Malay poetry.
He once translated poems by the late national laureate Usman Awang into Chinese and rendered them in calligraphic form for exhibition abroad.
“When the works were exhibited in China, they asked why the style differed from that of the Qing or Tang dynasties. I explained that it was a translated Malay poem – that is Malaysia’s identity,” he said.
For workshop participant Gunasegar MKK Wologanathan, 61, the experience offered a meaningful way to explore another culture.
“This is my first time trying Chinese calligraphy, and I am happy to learn a new art form. In my view, calligraphy can be learnt by anyone and serves as a bridge for cultural understanding,” he said.
Malaysian Institute of Art student Amina Alia Mohd Syukri, 21, agreed that the art form deserves preservation for its heritage and aesthetic value.
“I was very interested in calligraphy as a child because I studied at a Chinese school. When I saw there was a workshop, I felt like trying it again after leaving it for a long time,” she said.