Ink and Identity: Reading Hakka Narratives through Calligraphy

Have you ever marveled at the way words can whisper the secret tales of a culture? Step into the exhibition A Dimension To Be Found: Hakka Narrative in Calligraphy, where strokes of ink on paper reveal stories and traditions that have shaped generations.

Sense of Wander: ★★★☆☆

Poem “A Day Taiwanese People Keep in their Hearts” (2023) by Dupan Fangge (杜潘芳格)

TAOYUAN, Taiwan — Who are the Hakkas? The Hakka people in Taiwan trace their origins to the historical migrations of the Hakka ethnic group from mainland China. Today, about 20% of Taiwan's population belongs to the Hakka ethnicity.

Among the various Hakka-populated cities, Taoyuan city boasts the nation's largest Hakka population, exceeding 900,000. This led the city to host the 2023 Hakka Expo, which opened in August.

Coinciding with the expo, my favourite museum in the city, the Hengshan Calligraphy Art Centre (HCAC) launched a highly-anticipated exhibition that celebrates Hakka calligraphers: A Dimension To Be Found: Hakka Narrative in Calligraphy.

Having visited numerous Chinese calligraphy exhibitions — some of them organised by the HCAC — over the past decade, I was thrilled when I first learned about this exhibition in a press release. Those well-versed in Chinese art history know that calligraphy is predominantly dominated by Han Chinese. The Hakka Chinese, though the second-largest ethnic group in Taiwan, following the Minnan people (also known as Hoklos), is akin to an indigenous minority, seldom explored in the discourse of Chinese calligraphy.

A Dimension To Be Found features a curated selection of works by Hakka calligraphers, spanning from 1917 to the present day. These calligraphers include the Hakka gentry who lived under the Qing rule (1683-1895), the Japanese colonial period (1895-1945), the Republic of China era, and contemporary Hakka artists. The exhibition aims to reexamine the contributions of Taiwan's Hakka calligraphers, exploring how literature, poetry, and societal experiences have fueled their artistic journeys, and the role that calligraphy plays in transmitting their cultural heritage.

Instead of following the exhibition curator's division of the exhibition, I invite my readers on a wanderer's journey. We will walk in the shoes of our Hakka fellow citizens, tracing the path of their their forebears who, like pioneers, took root in Taiwan and, with time, bloomed into the flowers representing their culture."

Bitter Passage to Taiwan (1993) by Hsu Yung-Chin (徐永進)

Seeds of Migration

Fleeing social unrest and invasions in northern China during the Ming (1368-1644) and Qing (1644-1912) dynasties, the Hakka people first sought refuge in China’s southern regions. The term "Hakka" originates from Cantonese, meaning "guest families", implying their status as newcomers — or guests — residing in the southern provinces. In the 17th and 18th centuries, driven by overpopulation, land scarcity, and conflicts, waves of Hakka migrants embarked on precarious journeys across the Taiwan Strait to find sanctuary in Taiwan.

Crossing the Taiwan Strait, situated between the western coast of Taiwan and the eastern coast of China, was a formidable undertaking. The strait's turbulent currents, coupled with its almost ink-black appearance, earned it the name "Black Water Channel".

Celebrated calligrapher Hsu Yung-Chin (徐永進)(1951-2022) captured the saga of these Hakka ancestors in his oeuvre, Bitter Passage to Taiwan. This artwork is ingeniously divided into eight vertical strips against a dark backdrop symbolising the black waters.

Against this backdrop, Hsu wrote the following words in gold, as if etching a fragment of his ancestors' collective memory:

I advise you not to cross over to Taiwan, for it is akin to the Gate of Ghosts. Thousands may enter, yet none return. Knowing life, knowing death, both are arduous.

Those yet to embark on the perilous sea voyage dreaded the uncertainties of the turbulent black waters. Those amidst the journey likely sought divine protection. However, those who successfully completed the odyssey across the strait would have been grateful for the divine guidance.

As one reads the golden words in Hsu's work, it evokes the image of Hakka ancestors crossing the strait — a scene reminiscent of the dance performance Legacy by the Cloud Gate Theatre Dance. In this mesmerising performance, the fears and perils of their journey come to life through the dancers' trembling movements and heartfelt cries.

A Dimension To Be Found: Hakka Narrative in Calligraphy exhibition on view at the Hengshan Calligraphy Art Centre in Taoyuan city.

Blossoms of Heritage

Individuals living in close proximity gradually formed settlements, establishing communities across various parts of the island, primarily in Hsinchu, Miaoli, Taoyuan, Hualian, and Kaohsiung. Here, they nurtured and preserved their distinct identity, language, and traditions within the rich tapestry of Taiwan's diverse culture.

In Hakka culture, the written word carries profound significance, evident in their studios, temples, and the “Cherish-Words Tower (“xi zi ting” or “jing zi ting”), an oblation furnace served to advocate Hakka’s deep reverence for the written word.

In Inscription on the Written Paper Burner in Meinong, Chen Chun-Kwang (陳俊光)(1963—) recounts the origin of the Cherish-Words Tower, written paper burner”, a traditional structure erected as a facility for collecting discarded papers with writing, with annual ceremonies for centralised incineration.

The written paper burner in Meinong, Kaohsiung, believed to have been founded in the mid-18th century during the reign of Emperor Qianlong (1763-1795), was built through community donation. Towards the bottom of Chen’s hanging scroll is a baimiao (outline) drawing of the written paper burner.

Inscription on the Written Paper Burner in Meinong by Chen Chun-Kwang (陳俊光)

Chang Tsai-Hsiang (張采香)(1871-1949) was among the four renowned literati from Hukou, Hsinchu city. In a couplet, he wrote the following lines in semi-cursive script:

Engaging in tipsy discussions about worldly matters,
Joyfully reading the books of ancient scholars

This hanging scroll showcases Chang's unrestrained brushstrokes, and the structured composition of the characters exudes dramatic tension. The aged, yellowing paper, on which the words were transcribed by Chang, reveals the passage of time.

One distinguishing characteristic of works by Hakka calligraphers is their occasional inspiration drawn from Hakka literature and poetry. For instance, Chung Chao-Cheng (鐘肇政)(1925-2020) incorporated excerpts from his own novel into Excerpt of The Novel Dull Ice Flower. His novel, Luping Hua (translated as “The Dull Ice Flower” or “Lupine Flower”), explores pressing issues such as wealth disparity, education, and corrupt politics in rural Taiwan in 1960. It not only holds a significant place in Taiwan's literary canon, but encapsulates the collective memory of the Hakka community, later adapted into a film of the same title in 1989.

Excerpt of The Novel Dull Ice Flower by Chung Chao-Cheng (鐘肇政)

Spreading the Pollen

Over time, Hakka culture spread across Taiwan, enriching the island’s cutural diversity with its unique customs, practices, and values. One noteworthy figure in this cultural dissemination was the Taiwanese composer, Jiang Wenye (1910-1983), known as Kō Bunya in Japan. Inspired by Taiwan, he composed his celebrated opus, Formosan Dance, a symphonic masterpiece that inspired calligrapher Chiang Po-Hsuan (江柏萱)(1987—).

Both hailing from the same town, Sanzhi in New Taipei City, Chiang meticulously transcribed the lines from Jiang's oeuvre in ink. Her wild-cursive script mirrors the melodic undulations of the music, sprawled gracefully across a silk scroll measuring over 9 metres in length. Her expressive strokes resonate with the lyrical composition:

Here, I witness the utmost solemn pavilions,
Here, I see the most magnificent halls,
I also glimpse ancestral temples surrounded by deep mountain forests and ancient stages,
Yet, all these have vanished without a trace,
Transformed into spirits,
Dissolved into the depths of the cosmos,
The essence that once held the favor of gods and sons of men, like a mirage, Faintly emerges in the darkness,
Ah! Here, on this receding shore,
I behold only two or three lingering bubbles of illusion...

Transcription of Formosan Dance by Jiang Wenye (2023) by Chiang Po-Hsuan (江柏萱)

Transcription of Formosan Dance by Jiang Wenye, like many of the contemporary works on display, was commissioned by the HCAC for this exhibition, aimed at showcasing the various facets of Hakka culture predominant in Taiwan, encompassing beliefs, literature, music, and even culinary traditions.

Food often serves as a window into culture, and Hakka cuisine is no exception. One Hakka dish that has become an integral part of Taiwanese culinary heritage inspired artist Wu Ming (吳鳴)(1959—). In a detailed description, Wu Ming penned instructions — in cursive script — for preparing “Hakka-style stir fry”.

Beneath the recipe for this dish lies the essence of Hakka culture and practices. Traditionally, Hakka people would only offer the “three sacrifices” to the gods on special occasions. These sacrifices consisted of chicken, pork, and dried squid. Following the worship, Hakka women would skillfully slice the pork and pre-soaked squid, adding homegrown green onions and soy sauce before stir-frying these ingredients together. This culinary tradition gave rise to what we now know as Hakka stir-fry, a delightful dish best enjoyed with a bowl of rice.

Recipe of Hakka-style Stir Fry (2023) by Wu Ming (吳鳴)

Home . People (2023) by Huang Chih-Yang (黃智陽)

In Home . People by Huang Chih-Yang (黃智陽)(1966—), the artist breaks down the term “Hakka people” or “ke jia ren” into its constituent characters and inscribed them individually on pieces of paper. When read altogether, they convey “Hakka people”. But, when separated, they convey the meaning of “guest” (ke), “home” (jia), and “people” (ren).

The concept of what constitutes "home" for the Hakka people in Taiwan remains a multifaceted question, transcending both physical and cultural boundaries. While generations have passed since their ancestors settled in Taiwan, the notion of home continues to evolve. Is it the place of origin from which their ancestors came, the land of Taiwan where they were born and raised, or does it extend beyond the physical realm, embracing the gatherings of families and relatives? Perhaps, it even includes all those who share this same piece of land, regardless of their cultural backgrounds.

The exhibition's main title — A Dimension to be Found — reflects the curator's endeavour to explore the multifaceted dimensions of Hakka culture as expressed by Hakka calligraphers. Calligraphy, a shared practice among all ethnicities, often conceals the calligrapher's ethnicity as we read their works.

While the exhibition effectively amplifies the voices of the Hakka, it prompts us to question whether there is a necessity to emphasise cultural distinctions in a society where various cultures coexist harmoniously. The exhibition succeeds in drawing our attention to the calligraphers’ cultural origins, which may, to some extent, influence their creative expressions. Nevertheless, it remains to be seen whether readers will continue to give as much consideration to the cultural roots of calligraphers when engaging with their works in the future.

One undeniable aspect is that through calligraphy, we witness how these inked letters contribute to the archive of Hakka heritage, narrating the stories of their unique culture. They document the journey from their ancestors' arrival in Taiwan, the establishment of roots, and the eventual embrace of Taiwan as their home.

In Fingerpainting of Bamboo, calligrapher Fan Yao-Geng (范耀庚) employed his fingers as brushes to portray bamboos, revered symbols of virtue and moral integrity in ancient China, in various states.

Inside the exhibition, A Dimension To Be Found: Hakka Narrative in Calligraphy, at the Hengshan Calligraphy Art Cente

A Dimension To Be Found: Hakka Narrative in Calligraphy, is on view at the Hengshan Calligraphy Art Centre, Taoyuan, until October 30, 2023.