A Comparative Study of Cultural Integration between Chinese

Calligraphy and Thai Characters

Cao Ze Yu

Institute of Problem Solving, Silpakorn University, Talingchan, Bangkok, Thailand

Keywords: Chinese Calligraphy, Thai Characters, Reorganization, Communication.

Abstract: Calligraphy is an art form with Chinese characteristics developed from the Chinese character writing

process based on Chinese characters. Calligraphy is the representative of Chinese traditional culture,

while the spirit of calligraphy is the representative of the spirit of Chinese traditional culture. In this

sense, Calligraphic aesthetics is the epitome of Chinese traditional aesthetics. In the context of global

development, the education and communication of calligraphy culture has become particularly

significant. In the process of international communication, how to combine Chinese Calligraphy with

Thai Characters is a critical way of calligraphy culture ‘s intercultural communication. This paper

investigates the current situation of Chinese calligraphy and Thai characters’ integration application,

discovering the phenomena discovered in the internationalization of calligraphy culture at the present

stage, the existing problems, and starts with the modern transformation from the Chinese traditional

calligraphy, the calligraphy art and the body organization of Thai characters, focusing on the splitting

and reorganization of the Thai alphabet, adapting theories including composition and space of Chinese

calligraphy, reconstructing and splitting basic letters of Thai characters, combined with the combination

methods of traditional Chinese "Combination Words" and the writing method of calligraphy,

endeavoring to create a new calligraphy Thai phrase and construct a new method of calligraphy

culture’s international education and communication.

1 INTRODUCTION

1.1 Research Background

The cultural exchange between China and Thailand is

a vital part of the relationship between the two

countries. The culture between China and Thailand

owns a long history. After the establishment of

diplomatic relations between China and Thailand in

1975, the cultural exchanges between the two

countries were more extensive. In the 40 years since

then, the exchanges in the cultural field have

developed in a balanced and steady manner, not only

wide in range, but also in frequency. The cultural

exchanges between the two countries have become

increasingly prosperous, which has not only enhanced

the friendship between the two countries, but also

promoted the economic and cultural development of

the two countries.

In the process of the development of Chinese as a

foreign language, Chinese calligraphy has played an

important role in promoting it. However, the teaching

of Chinese calligraphy has gradually gained attention

in the latter stage. In the early days, the teaching of

Chinese as a foreign language focused on language

aspect, ignoring the cultural aspect including

calligraphy. Nowadays, with the increasing number

of people learning Chinese, the importance of

calligraphy is self-evident. More and more Chinese

learners want to know about Chinese calligraphy and

the profound cultural significance behind it, so as to

plough more about China, which best illustrated by

classroom of Chinese as a foreign language, more and

more attention has been paid to Chinese calligraphy.

However, little research has been done on overseas

calligraphy teaching.

Chinese calligraphy is a symbol of Chinese

culture for thousands of years, as well as a testimony

of Chinese history. In some extent, the reason

Chinese history has been continuously passed down

lies on the inheritance of Chinese characters, yet

Chinese characters are based on Chinese calligraphy.

The horizontal and vertical of calligraphy represents

Chinese people’s the criterion of conducting

themselves. Technique of writing and ink style, as

well as blank in space is the embodiment of Chinese

Yu, C.

A Comparative Study of Cultural Integration between Chinese Calligraphy and Thai Characters.

DOI: 10.5220/0009395804690478

In Proceedings of the 1st International Conference on Interdisciplinary Arts and Humanities (ICONARTIES 2019), pages 469-478

ISBN: 978-989-758-450-3

469

art aesthetics. Moreover, combining Chinese

calligraphy teaching with Chinese character teaching

can also play a mutual promotion role, as using

calligraphy teaching to promote the progress and

consolidation of Chinese character teaching, because

calligraphy is taught on the basis of Chinese

characters, and the elbow of practicing calligraphy is

also the consolidation of Chinese characters. Link

Chinese calligraphy with Thai, design, and word-

related disciplines, combining calligraphy culture

with Thai characters, creating cultural resonance and

enhancing cultural recognition, which in turn can

enhance the exchange of Chinese calligraphy culture

and Thai culture, finally strive to carry forward

Chinese calligraphy.

1.2 Research Objectives

This paper mainly studies the "Calligraphy Nine Style

of Brushstrokes" of soft pen calligraphy in Chinese

calligraphy. Apply the technique of “Calligraphy

Nine Style of Brushstrokes” to the writing of Thai.

Moreover, make words out of the common phrase,

greetings used in Thai through the Chinese

"combination word" space composition, meaning and

other combinations. Combine Thai characters and

Chinese calligraphy culture with new art forms,

enhance the public acceptance and recognition of

calligraphy culture, promote the international

development of calligraphy culture, and upgrade the

cultural exchange between China and Thailand.

1.3 Research Significance

For the teaching of calligraphy for foreign Chinese

learners, because the teaching objects are not in the

context of Chinese culture, they know little about

Chinese traditional culture and its aesthetic methods.

Therefore, the main purpose of teaching is to

understand basic calligraphy knowledge and master

the basics writing skills, while emphasis more about

the cultural connotations contained in them, increasing

the understanding of traditional Chinese culture.

The rhythm of calligraphy is expressed in terms of

lines, knots, chapters, and ink colors. Calligraphy is the

art of lines, with the regular repetition of the

characteristic brushwork forming the rhythm of the

lines. The knot refers to the arrangement of each word

point and the arrangement of situations. The certain

relationship formed between the strokes is the word

stroke. The consistency of the font stroke constitutes

the rhythm of the knot; Chapter refers to layout, the

connection between fonts forming lines, and the lines

forming the whole article, integrated by the appropriate

kerning between fonts and neat arrangement between

rows, forming the rhythm of the whole chapter in

regular organization and repetition constitute; The

alternation of black and white, such as dense-and-thin,

dry-and-wet, withered-and-moist, light-and-heavy,

gradually repeats to form the rhythm of ink.

The art of calligraphy is closely related to life,

with wide participants and popular among public, a

traditional Chinese art with unique nationality

features, which profoundly reflects the aesthetic

conception and artistic spirit of Chinese culture.

Chinese learners can get a glimpse of Chinese culture

through their understanding of calligraphy art. In this

process, they can not only upgrade their perspectives

on Chinese culture, but also lay a cultural foundation

for their future communication with Chinese people.

Calligraphy teaching is very helpful to foreign

learners in both Chinese character learning and

cultural learning. Thai people also have a keen

interest in calligraphy, thus enhancing the friendly

exchanges between China and Thailand and creating

favorable conditions for a better understanding and

contact with Chinese society for local people.

1.4 Research Methods

1.4.1 Literature Research Method

According to the topic and concept of the thesis,

adapting the relevant literatures through the network,

library and other media, which have been carefully

read and analyzed, lay a theoretical foundation for the

writing of this paper.

1.4.2 Interview Method

Conduct in-depth interviews with teachers and

students of the Confucius Institute in Phuket during

the spare time, collecting the most authentic first-

hand information. Through analyzing the information

obtained in interviews, find the problems existing in

the actual use of Chinese calligraphy, proposing

solutions and suggestions in the paper through

analysis and research.

2 MANUSCRIPT PREPARATION

2.1 The Evolution of Chinese

Character Glyphs

Calligraphy is the bearer of China's excellent culture,

from the historical record of the Oracle, Silk Script,

Bamboo Slips, stone inscriptions on tablets to the

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470

authentic works left by the great calligraphers of the

past dynasties, which carries the cultural essences of

Chinese characters, poetry, history, geography,

philosophy and folklore. The art of calligraphy is

closely related to life, with wide participants and

popular among public, a traditional Chinese art with

unique nationality features, which profoundly reflects

the aesthetic conception and artistic spirit of Chinese

culture.

Chinese characters originate from the figure of the

note. When the figure is more and more simple, more

abstract, and can be read out, it represents the fixed

words in the language, thus the figure is the original

text. Before the Qin unified nation’s text, Chinese

characters were confused in terms of both fonts and

applications. In the broad sense, ancient Chinese text

includes Dazhuan (Ancient seal script developed in

the late Xizhou Dynasty), and words before

Xiaozhuan (Later seal script developed in the Qin

Dynasty); In the narrow sense, it refers to the words

before Dazhuan (Ancient seal script developed in the

late Xizhou Dynasty) in the history of Chinese

characters.

Oracle is a symbol on the tortoise shell or animal

bone, mainly emerging in the Shang and Zhou

dynasties, used to record the sacrifices, alliances or

divination, which is the earliest known Chinese

character system. Oracle is the earliest Chinese

character, with the characteristics of early Chinese

characters: strong picturesque feature, no

formalization in writing, different sizes, and

randomness. In 1954, the oracle bones of the Zhou

Dynasty were also discovered in Shanxi.

Figure 1: Chinese oracle bone font.

Jin Wen (Bronze inscription) refers to the

inscription written on the Yin Zhou bronze ware, also

known as Zhongding Wen. Shang and Zhou dynasties

is the era of bronzes, whose sacrificial vessel is

represented by Ding, and instruments represented by

bells. "Zhong Ding" is synonymous with bronze.

Figure 2: The evolution of Jinwen (bronze inscription) and

Xiaozhuan (Later seal script developed in the Qin Dynasty)

In fact, Jinwen (Bronze inscription) has developed

into Dazhuan (Ancient seal script developed in the

late Xizhou Dynasty). Thoughout the history of

Chinese writing, the three generations of Xia, Shang

and Zhou Dynasty, as far as their contribution to

philology is concerned, Shizhou is of great

significance. Shizhou is the historian of King Xuan’s

Zhou Dynasty, who created new inscription to make

writing easier. Dazhuan is also known as Zhuanwen,

Zhouzhuan, Zhoushu and Shi Script. Because it was

written by Shizhou, it was called "Zhou Wen" in the

past. Dazhuan is scattered in Shuowen Jiezi (origin of

Chinese Characters) and various Zhongding Yi

instruments collected by later generations. Among

them, the stone drum inscriptions written by King

Xuan of Zhou dynasty are the most famous.

The beauty in the form of calligraphy works is

determined by the beauty in the form of Chinese

characters. The evolution of Chinese characters from

Lishu (Clerical script), Kaishu (Regular script),

Xingshu (Running script) and Caoshu (cursive script)

has created differences in the glyphs of Chinese

characters in various periods. On this basis, together

with the artistic processing of calligraphers, various

unique calligraphy works have been created, which

has been passed down to become our precious wealth.

The beauty in the form of calligraphy is mainly

manifested in three aspects: the beauty of the strokes,

the rhythm of brushes, and the beauty in the space of

structure.

The beauty of the strokes. Chinese calligraphy has

a certain emphasis on the use of brushes. The basic

requirements for writing are the empty palm, the

hanging wrist, and middle front. The requirement of

operating brushes is "force according to artistic

conception ". Although it is different in fast-and-

slow, light and heavy, it must be stable. This kind of

force is not brute, but it is force-oriented, with the

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focus on the front end, utilizing power of the whole

body to send to the tip of the pen through the arm,

wrist, hand, finger, from the tube to the tip, “Stroke

as if it can hold a Ding (Tripod)” , “Penetrating effort

as if it can puncture the paper”, “bold and vigorous

strokes” .

The word "Yanjin Liugu" is a compliment to the

beauty of Yan Zhenqing and Liu Gongquan's

calligraphy, representing the rhythmic beauty of

strokes. The rhythm of calligraphy is expressed in

terms of lines, knots, chapters, and ink colors.

Calligraphy is the art of lines, with the regular

repetition of the characteristic brushwork forming the

rhythm of the lines. The knot refers to the

arrangement of each word point and the arrangement

of situations. The certain relationship formed between

the strokes is the word stroke. The consistency of the

font stroke constitutes the rhythm of the knot; Chapter

refers to layout, the connection between fonts

forming lines, and the lines forming the whole article,

integrated by the appropriate kerning between fonts

and neat arrangement between rows, forming the

rhythm of the whole chapter in regular organization

and repetition constitute; The alternation of black and

white, such as dense-and-thin, dry-and-wet, withered-

and-moist, light-and-heavy, gradually repeats to form

the rhythm of ink.

The beauty in the space of structure. The beauty

in the space of structure mainly embodied the beauty

of peaceful harmony, the beauty of fluency and

universality, and "counting white as darkness", the

beauty of illusion and reality. Homogeneity is the

basic requirement. Homogeneity is not rigid or dull

but requires a balance of forces. Fluency and

naturalness require the works to be real and alive, not

deliberately, and the layout is natural. The

combination of virtual and real requires harmony

between black and white, and contrast between

virtual and real. Compared with the one-sided

teaching of Chinese characters, calligraphy is more

novel and interesting, and the formal beauty of

calligraphy art is more intuitive and expressive,

which can arouse people's interest.

The beauty in the space of structure incarnates in

aspects of lines, knots, chapters, and ink colors.

Calligraphy is the art of lines, with the regular

repetition of the characteristic brushwork forming the

rhythm of the lines. The knot refers to the

arrangement of each word point and the arrangement

of situations. The certain relationship formed between

the strokes is the word stroke. The consistency of the

font stroke constitutes the rhythm of the knot; Chapter

refers to layout, the connection between fonts

forming lines, and the lines forming the whole article,

integrated by the appropriate kerning between fonts

and neat arrangement between rows, forming the

rhythm of the whole chapter in regular organization

and repetition constitute; The alternation of black and

white, such as dense-and-thin, dry-and-wet, withered-

and-moist, light-and-heavy, gradually repeats to form

the rhythm of ink.

2.2 The " Calligraphy Nine Style of

Brushstrokes " of Chinese

Traditional Calligraphy Fonts

The so-called " Nine Style of Brushstrokes " are the

nine methods and rules for brushstrokes. Caiyong (

BC 133-192), Eastern Han Dynasty writer and

calligrapher. Caiyong’s calligraphy is "various in

body and law, perfect in spirit, unique throughout

history" (Tang Dynasty-- Zhang Huaiguan). Emperor

Wu of Liang in Nan Dynasty also complimented his

scripts as "moral integrity and open, refreshing and of

divine power." His book theory, especially the

legendary "brushstroke theory", focuses on the

spiritual state that a calligrapher should have. " Nine

Style of Brushstrokes “or " Nine Style of

Brushstrokes in Eight Technique" first proposed the

important thought of " Script is in nature. Since the

nature has been established, yin and yang have born,

thus coming out the situation”, which reveals the

philosophical basis of calligraphy beauty, and then

elaborated eight rules of using brushstrokes,

occupying an important position in the history of

Chinese script theory.

"Nine Style of Brushstrokes " is also known as "

Nine Style of Brushstrokes in Eight Technique",

which is often said to be written by Caiyong of the

Eastern Han Dynasty. In the Song Dynasty, Chen Si

imported the book "the Essence of Script ", and wrote

the most part of Yan Zhenqing's " 12 Implications of

Zhang Changshi's to the " Nine Style of Brushstrokes

" as a completion. " Nine Style of Brushstrokes " was

reprinted in the third volume of " Pei Wenzhai's

Painting and Calligraphy Table ", with the “Eight

Technique” deleted, written as " Nine Style of

Brushstrokes ". It has been preserved since then and

has an important position in the history of Chinese

script theory. The so-called " Nine Style of

Brushstrokes " are the nine methods and rules for

brushstrokes.

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Figure 3: Cai Yongxi Pingshi Sutra

"Script is in nature. Since the nature has been

established, yin and yang have born, thus coming out

the situation. Hiding the head and protecting the tail,

force is in the words, strengthening in stroking,

beauty lying on the skin. Therefore, it is said that if

the strokes have come, it can not be stopped; if the

strokes have gone, it cannot be rectified, never using

soft strokes, otherwise it could end up in odd.”

" Nine Style of Brushstrokes " mainly proposed

three aesthetic concepts about calligraphy lines,

namely "Li" (Force), "Shi" (Potential) and "Cang"

(Hidden). "Li" is the center of Cai Yi's calligraphy

aesthetics. It emphasizes that "Li" is the basis of

knotting, stroke, and layout. "using force when

stroking" can make the font have the beauty of "skin".

"Shi" is a "force" that has been given directionality. It

is often used to refer to a stroke with a certain

direction in the creative process, which means that "

if the strokes have come, it can not be stopped; if the

strokes have gone, it cannot be rectified ". "Cang"

originated from the philosophical thought of "A

decent man often hide its advantages", emphasizing

that calligraphy creation needs to be subtle and calm.

When it comes to operating strokes, it is necessary to

"hide the head and protect the tail", thus highlighting

the tension of calligraphy lines.

2.2.1 Luobi (to begin the stroke)

"Where the stroke begins, the tops are covered, the

bottoms are placed to connect the top, so that the

situation is reflected, and there is no adverse

potential." That is to say, if the structure of the stroke

is written, the upper part should cover the lower part

and the lower part should connect with the upper part,

letting the glyphs related to each other and should not

be deviated from the situation.

2.2.2 Zhuanbi (nonstop front turning)

"Return the pen, it is advisable to review the left and

right, without making the knot solitary." Turning the

stroke should make the tip round, with intermittent

but pay attention to the continuity, and do not make

the discontinuity appear in isolation.

2.2.3 Cangfeng (front-hiding)

"Cangfeng, the strokes intending to the left should be

right first, the strokes to the left should back to the

right." This is shown in the beginning and end of

strokes, the strokes intending to the left should be

right first, the strokes to the left should back to the

right.

2.2.4 Cangtou (head-hiding)

"Cangtou, round brush belongs to paper, so that the

heart of the brush is often in the point of painting."

generally referred to as to at the beginning of a stroke,

the tip of the brush is moving towards the opposite

direction of the stroke intends to be, which is the

process of gaining momentum, after that, press down

the slant on the flat paper, making the brush’s center

running in the point painting.

2.2.5 Huwei (tail protecting)

"Tail guard, drawing points to exhaust the

momentum, and force is end." It includes two

meanings: First, when the stroke is closed, the brush

is not separated from the paper, and recovered at the

end of the painting, which echoes with the stroke to

form a potential loopback; Secondly, when the stroke

is closed, the brush leaves the paper surface in the air,

the recovery potential is also formed with the brush.

Therefore, we must not think that "the force is in the

word" means that the brush can never leave the paper,

but see that there are many forms of force and

strength, not only sticking to the literal meaning of

"hidden" or "protection".

2.2.6 Jishi (rapid brush movement)

"Jishi is out of vertical and horizon slants, and it is

within the shackles." Refers to the fast, the rapid

stroke. However, the reference here is not simple fast,

but the first short slant on the right side of the word

"Zhuo", just like “Yong”, first hidden its front, then

turning the stroke down to the right, halting, then the

line is turned to the left, ending in sharp slant. Pull

out. "Zhe" means wave painting, so-called three turns

in one wave. The first turn is a little shorter, the stroke

is slightly faster, the second turn is slightly longer,

and the stroke is slowed down; the third turn is fast-

moving, near the front, and it is end at the same time.

"Yue", as the "Yong"’sthe hook of the vertical

painting, before the hook is a slap, and then suddenly

rises, like the power of kicking.

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2.2.7 Lvebi

"Lvebi is used in the rapid stroke." It is used in the

long line of slant, such as the word "Guang" in the left

downside, writing a long slant, initially a vertical

stroke, and going to the left in the middle; when there

is a slight press, so that the strokes are thicker, and

then end in a hasty, such the short-stroke is slightly

loosened, so it is called "Zanhuan", and there is a

sense of distraction. Then it is a tense end of strokes,

which is the law of “Zan”; it is also a tight ending, so

it is called "Junzan". In these two styles, end the long

slant of Lvebi.

2.2.8 Seshi (slow brush movement)

"The strategy of Seshi is moving forward in tense" In

the way of intense and rapid fighting forward, it is

said to overcome resistance and move forward.

2.2.9 Hengling

Horizontal scales, vertical gauges. Refers to the

strokes of both horizontal and vertical strokes.

Horizontal paintings should not be simple flush,

slippery, but must be like fish scales, seemingly flat

but internal uneven. Vertical strokes should not fall

down straight, and must be combination of slow and

fast, and there are slow in the rapid moving, such as

draw rein on horse, in the constant relaxation and

tightening from time to time, it is called the horizontal

scales with vertical rein.

The above is so called " Nine Style of

Brushstrokes ". Upon digestion, you can understand

the ancients without teachers at all, with efforts and

hard working to reach a wonderful attainment. This

sentence is intended educate the latter learner. As

long as the learners have mastered the correct

methods, combined with hardworking, even without

the guidance of a famous teacher, they can achieve

the "wonderfulness" of calligraphy.

2.3 The Evolution of Thai and Thai

Characters

Thai belongs to the Qin and Han branches of the Sino-

Tibetan language family, and Thai is the official

language used in Thailand. Thai is a kind of

alphabetic writing. About 30% of Thai is similar to

Cambodian. Many words, especially polysyllabic

ones, originate in Pali and Sanskrit. Because of the

long-standing traditional friendship between China

and Thailand, many overseas Chinese settled in

Thailand at an early stage and established kinship

with the Thai people, so there are many daily

vocabularies, including most of the numbers, among

the Thai people, and also absorbed the dialect of

southern China as part of its language. Thai has rich

vocabulary and expressiveness. Because it is a tonal

language, it is soaring in tone and instigating. Thai is

very rhyming, represented by its large number of

rhyming double-syllable words and four-syllable

vicious compound words.

The Evolution of Thai Characters. The original

Thai characters imitated in Meng and Cambodian

from about 954 AD. Then Thailand began to edit its

own characters. Among them, Thai characters were

all adapted from the form of Indian characters. If we

study Thai characters in-deepth, we will find that Thai

characters are directly related to Indian characters.

Sanskrit. Around the 12th century, the first stone

tablet in Thailand was found in Sanskrit.

Figure 5: The text of the block stone is Sanskrit.

Meng character and Khmer character. In 1283,

the Emperor Langanheng of the Sukhothai dynasty

rearranged the ancient Meng scriptures and the

ancient Orthodox Orthographic system of the Khmer

script, placing the vowels and consonants in a row.

Figure 6: Meng character and Khmer character

Lai Sue Thai" character. In 1283, the Emperor

Langanheng of the Sukhothai dynasty rearranged the

ancient Meng scriptures and the ancient Orthodox

Orthographic system of the Khmer script, placing the

vowels and consonants in a row.

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Figure 7: "Lai Sue Thai" character

The character in Pajarati period, About 1837,

the Pai Litai King of the Sukhothai Dynasty, further

developed the Thai Orthography orthography system,

which not only puts the Thai vowels and consonants

in the same rank, but also puts the vowels to the upper

and lower position of the consonant, this kind of

character, we call it "the character in Pajarati period"

Figure 8: the character in Pajarati period

The character in king of Nalai. During the Nalai

Dynasty of the Dacheng Dynasty, the style of Thai

font changed to the form of straight-line edge and

corner, and the characters were similar to those of

today. Then there were sound vowel letters with two

tone symbols, the second and third tones. By the end

of the Dacheng Dynasty, the consonant letters of the

Thai language had totally 44.

Figure 9: The character in king of Nalai

Modern Character. From 2035, the positive

Orthography of Thai language has gradually

developed into the style of today.

Figure 10, Modern Character

2.4 Comparisons between Chinese

Calligraphy and Thai Character

The Chinese characters are one word and one sound,

and each sound is divided into four tones. Therefore,

it is loud and clear to read, and it is very beautiful and

rhythmic, which can be said to be one of the most

beautiful language in the world. The poems written in

this language are pleading to hear with cadence,

especially poetry, which emphasizes on level and

oblique tones, as well as antithesis, so the verses can

be particularly neat, the rhythm is particularly clear,

and catchy. Therefore, Chinese characters are also

called one of the most beautiful words in reading.

Figure 11: Comparison of Chinese character writing and

Thai character writing

Chinese characters are flat words. Learning

Chinese spell is for Chinese characters, while Thai is

linear, with the consonants and vowels of Thai

directly used for spelling Thai characters. Therefore,

to learn Thai, it is extremely important to fully grasp

the consonants and vowels of Thai. Moreover, Thai

consonants and vowels are much more complicated

than Chinese Pinyin.

The consonants and vowels of Thai are quite

different from the writing symbols of Chinese Pinyin.

However, when writing Chinese Spell, it is not

difficult to learn on the basis of the 26 letters of

English already mastered. The difficulty in learning

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475

lies in the pronunciation of Chinese Pinyin absent in

Thai. Thai and Chinese have different number of

tones and different tone values indicating the mark

position of tones.

Figure 12: Xu Bing's Chinese Calligraphy Font

The rhythm of calligraphy is expressed in terms of

lines, knots, chapters, and ink colors. Calligraphy is

the art of lines, with the regular repetition of the

characteristic brushwork forming the rhythm of the

lines. The knot refers to the arrangement of each word

point and the arrangement of situations. The certain

relationship formed between the strokes is the word

stroke. The consistency of the font stroke constitutes

the rhythm of the knot; Chapter refers to layout, the

connection between fonts forming lines, and the lines

forming the whole article, integrated by the

appropriate kerning between fonts and neat

arrangement between rows, forming the rhythm of the

whole chapter in regular organization and repetition

constitute; The alternation of black and white, such as

dense-and-thin, dry-and-wet, withered-and-moist,

light-and-heavy, gradually repeats to form the rhythm

of ink.

Figure 13: Xu Bing's Chinese Calligraphy Font

3 CULTURAL INTEGRATION OF

CHINESE CALLIGRAPHY AND

THAI CHARACTERS

3.1 The Historical Inheritance of

Chinese Calligraphy in Thailand

In terms of cultural integration and promotion,

Thai government agencies often organize Chinese

cultural promotion activities and actively promote the

promotion of Sino-Thai cultural exchanges. The

Chinese Painting and Calligraphy Exhibition, the

Chinese Art Exhibition, and the China Culture

Experience Week are regularly held to let the people

feel the charm of Chinese culture at close range.

Through the understanding of calligraphy art,

learners can give a glimpse of Chinese culture. In this

process, they can not only upgrade their views on

Chinese culture, but also lay a cultural foundation for

their future communication with Chinese people. The

main body of calligraphy creation is the calligrapher.

The successful calligraphy works reflect the

personality spirit of the calligrapher and the aesthetic

characteristics of the times.

They not only have the form beauty, but also lie

inside interacting with Chinese culture, with

integrated symbiosis. Through the accumulation of

individual style of calligraphers and the deposition of

aesthetic fashion in the past dynasties, it eventually

became an art category with unique spiritual beauty

of Chinese culture.

During the Thai Citizens' Rights Protection Day

Conference in Bangkok, the Prime Minister of

Thailand, Ba Yu, and the relevant government

departments attended the meeting. After the meeting,

officials from Ba Yu and related departments watched

the exhibition of art works exhibited by

representatives of students from special schools

across Thailand.

Ba Yu visited everyone's work with extensive

interest. When he came to the Chinese calligraphy

display table, Ba Yu personally raised the calligraphy

of Linyi, and asked the Chinese students the

significance of these words, praising the beauty of

Chinese characters. Many Thai students and staff of

relevant government departments have expressed

their love for Chinese culture.

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Figure 14: Chinese Calligraphy Works of the Summer

Palace of Emperor Tai V

3.2 Daily Use of Chinese Calligraphy

and Thai Writing in Thailand

For the Chinese, Thailand is both intimate and

mysterious. The intimacy is that there are many

overseas Chinese here, and the mystery is about the

Buddhist culture and various cultural legends of this

country.

Figure 15: Thai students write blessings in Chinese

calligraphy

As China and Thailand are geographically close,

more and more people come to Thailand. Many

people who travel to Thailand will stay in Bangkok

for a few days, and shopping is the most important

entertainment.

Figure 16: Chinese font application in Thailand

As Chinese tourists have risen year by year and

China's national strength has increased, there are

more and more Chinese characters on the streets of

Bangkok. These Chinese characters are not only

found in shopping centers and entertainment centers,

but also on signs on some roads. In many places in

Bangkok, the location of Chinese is more

conspicuous than English, and the font size is larger.

Some of the staff who solicited customers at the

entrance of the mall even spoke a few Chinese

greetings. At Bangkok Airport, border inspectors can

communicate with Chinese tourists in Mandarin.

There are a lot of locals who speak a few words about

Chaozhou dialect and Cantonese in commercial

streets like Chinatown.

Bangkok's tourist attractions and shopping spots

usually have Chinese characters. The Chinese

restaurant in the Chinese gathering area will also be

marked with a separate Chinese line. Chinese tourists

can order food quickly through Chinese. Not only

does the menu have a Chinese logo, but most of the

waiters in the hotel speak Mandarin. Even in the small

stalls selling fruit juices on the roadside, in order to

attract Chinese people to shop, they can also use

Chinese. For shops with Chinese logos and without

Chinese logos, the turnover varies greatly. Old people

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477

who sell pineapple on the roadside have never been

to China, but they have a good impression of the

Chinese. Among which, few know Chinese

characters, but they can write the word

"Boluomi"(refers to Pineapple) very well. Along with

frequent cultural exchanges, more and more Thai

people are beginning to learn Chinese. Even ordinary

people with low culture are learning the basic Chinese

language in a subtle way.

4 CONCLUSIONS

As a representative element of Chinese traditional

culture, Chinese calligraphy art is also an important

carrier of Chinese civilization. It is not only the

precious wealth of the Chinese people, but also a

treasure in the world culture. We have the

responsibility to introduce calligraphy teaching in

international Chinese teaching and spread the

calligraphy culture to all parts of the world.

Moreover, calligraphy teaching has a very positive

significance for international Chinese teaching,

which can not only help Chinese learners to learn

Chinese characters, but also lead them into Chinese

civilization and understand Chinese culture.

The art of calligraphy has already transcended the

national boundaries. By spreading the seeds of

calligraphy and extending the influence of Chinese

culture, it will play an irreplaceable and unique role

in promoting Chinese civilization, propitious to

promote international cultural dialogue as well as the

improvement of China's cultural soft power.

REFERENCES

Ziyan. D., 2014. Research on Chinese Characters and

Culture. Master's Thesis of Liaoning Normal

University.

Ma Lingjuan. D, 2012. Comparison Between Han-Thai

Characters and Teaching Study on Han-Thai

Characters.Master's Thesis of Zhengzhou University.

The origin of Chinese characters http://www.chinavista.

com/experience/hanzi/chhanzi.html

Ancient Chinese characters [ED/OL]. http://baike.baidu.

com/view/8170.htm

Evolution of Thai characters [ED/OL]. https://www.

gotoknow.org/posts/449330http://www.ichat.in.th/than

athnamket/topic-readid88803-page1

Ancient Chinese characters [ED/OL]. http://www.ichat.

in.th/thanathnamket..

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