— The Hidden Traps All Calligraphy Learners Must Avoid
Introduction: What Are the “Three Vices” of Calligraphy?
In the journey of calligraphy study, every practitioner eventually hits a mysterious wall:
“My strokes are improving, but something feels off.”
“It looks beautiful, but it doesn’t touch the heart.”
Ancient Chinese calligraphers identified this disconnect between technique and spirit as three critical pitfalls known as the “Three Vices (三悪)”:
- Shūki (習気) — Loss of individuality through excessive imitation
- Byōhitsu (病筆) — Physically ingrained bad habits that distort natural strokes
- Gobyū (誤謬) — A fundamental misunderstanding of what calligraphy truly is
These are not mere technical errors. They are deeper maladies that erode the soul of calligraphy as a Way of personal cultivation.
Shūki: When Imitation Smothers the Spirit
Definition & Common Examples
Shūki refers to the stagnation that results when the practice of rinsho (copying classical works) becomes the end rather than the means. Calligraphers trapped in Shūki often:
- Rely solely on copying a single master’s style
- Uncritically adopt their teacher’s brushwork
- Over-emphasize showy or trendy styles for exhibitions
In these cases, the breath, rhythm, and spirit of the calligrapher vanish from the strokes.
“One who is consumed by Shūki is skillful, but soulless.” — Sun Guoting, “Shupu”
Causes and Mechanisms
- A strong desire to look good or gain praise
- Mistaking rinsho for literal copying, rather than interpretive study
- Lack of grounding in calligraphy theory and philosophy
Shūki is especially common among beginners and those in exhibition-focused learning environments.
How to Overcome Shūki
- Copy a diverse range of classical styles and seek their shared spiritual essence
- Shift your mindset from “imitation” to “dialogue” with the classics
- Develop a habit of writing uncontrived pieces—like diaries or letters—not based on anyone else’s hand
The key to escaping Shūki lies in “listening inward” rather than seeking outward validation.
Byōhitsu: When Bad Habits Block the Flow of the Line
What Is Byōhitsu?
Byōhitsu is a chronic condition where physical habits—errors in brush use, posture, or movement—interfere with the ability to produce natural, breathing lines. Common signs include:
- Uneven pressure, resulting in flat, lifeless strokes
- Insecure starting points and weak stroke endings
- Using only the wrist, without engaging the elbow or shoulder
If we say calligraphy should “breathe,” then Byōhitsu results in suffocated strokes.
What Causes Byōhitsu?
- Practicing often without understanding fundamental brush mechanics
- Developing self-taught posture or grip without correction
- Repeating incorrect techniques without proper guidance
“When sickness enters the brush, the ink no longer conveys spirit, and becomes dead.” — Ancient calligraphy commentary
How to Cure It: Return to Line Fundamentals
- Repeatedly practice the Eight Principles of the Character ‘Eternity’ (永字八法) and basic strokes with precision
- Use mirrors or video to objectively analyze your brush movements
- Focus on disciplined training in pressure, speed, and body alignment
The “illness” often appears within a single stroke, particularly in the transitions: starting (kisho), moving (sōhitsu), and ending (shūhitsu). Attentive repetition of these steps is the path to recovery.
Gobyū: When the Essence of Calligraphy Is Misunderstood
What Is Gobyū?
Gobyū is the fundamental misunderstanding of what calligraphy truly is. When one’s motivation skews toward technique, ornamentation, or aesthetic pleasure, calligraphy degrades into mere surface design. Signs of Gobyū include:
- Seeing calligraphy as nothing more than decorative characters
- Ignoring its historical and philosophical roots in favor of visual impact
- Treating calligraphy as a competition or a showy display of techniques
Why It’s Dangerous
Gobyū is insidious because it can pass for success.
- The practitioner believes they are creating beautiful work
- Teachers and peers may praise them
- Yet the “roots” of their calligraphy are rotting unnoticed
Gobyū is a chronic and invisible illness that often goes undiagnosed.
How to Overcome It: Reconnect with Calligraphy’s Philosophy
- Study spiritually profound classics like Sun Guoting’s “Shupu”, Wang Xizhi’s “Preface to the Orchid Pavilion”, or Zhiyong’s “Thousand Character Classic” in Square and Cursive Styles
- Reflect daily on the question: “What is calligraphy?”
- Seek not technical brilliance, but lines that carry breath and spirit
Calligraphy is not just expression—it is practice, dialogue, and inner cultivation.
No matter how technically advanced, without this foundation, it cannot be called true “calligraphy.”
Conclusion: Overcoming the Three Vices Is the First Step to Living Calligraphy
- Shūki clouds individuality through imitation
- Byōhitsu disconnects body and spirit through habit
- Gobyū stems from ignorance of calligraphy’s essence
The Three Vices are not simple technical errors; they are existential threats to the practice of deepening the self and the world through calligraphy.
Yet in overcoming them, we take the first step toward living calligraphy as a path of self-realization.
If you love calligraphy, now is the time to re-examine these vices—so you can return to a line that breathes with life.
Comments