The assertion that calligraphy and painting came from a common origin was proposed in the early Tang dynasty by Zhang Yan-Yuan. Writing is used to convey meaning and painting is used to indicate shapes and forms. The two compliments each other and the brushwork and ink application rhythms shared by the two are regarded as the core principles in literati calligraphy and painting. Traditional Chinese literati calligraphy and painting encompass a wide range of subject matters that include religion, landscape, people, flower and bird, and everyday lifestyle. Both calligraphy and painting are expressions of personal states of mind and observations of all things. Through appreciating such artwork, the viewers are able to understand the type of lifestyle and the artistic meaning that the artist wished to convey, allowing for spiritual interactions or emotions that could transcend beyond space and time.
The theme of this edition of the journal is Lifestyle and Art in Literati Calligraphy and Painting, and through an essay evaluation process and approval from the editorial board, included in this edition are the following four essays which examine calligraphic works a nd paintings by Xia Jing Shan and the literati calligraphy and painting lifestyle and artistic conceptions