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 historical migrations of the Hakka ethnic group from mainland China. Today, they make up about 20% of Taiwan’s population.

Among Taiwan’s Hakka-populated cities, Taoyuan boasts the nation’s largest Hakka community, 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 celebrating Hakka calligraphers: A Dimension To Be Found: Hakka Narrative in Calligraphy.

Having visited numerous Chinese calligraphy exhibitions — some 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 has long been dominated by Han Chinese. The Hakka, though Taiwan’s second-largest ethnic group following the Minnan (Hoklo) people, are seldom explored in the discourse of Chinese calligraphy almost like an indigenous minority in this artistic tradition.

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 shaped their artistic journeys, alongside their role in preserving their cultural heritage.

But instead of following the curator’s trajectory, I invite my readers on a wanderer’s journey — walking in the footsteps of our Hakka fellows, tracing the path of their forebears who, like pioneers, took root in Taiwan and, over time, blossomed into the flowers of 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,” reflecting their status as newcomers or guests 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 strait in search of sanctuary.

Crossing the Taiwan Strait — a treacherous passage between the western coast of Taiwan and the eastern coast of China — was a daunting undertaking. Its turbulent currents and almost ink-black waters earned it the ominous name “Black Water Channel.”

Celebrated calligrapher Hsu Yung-Chin (徐永進)(1951-2022) captured the saga of these Hakka ancestors in his work, Bitter Passage to Taiwan. Ingeniously structured into eight vertical strips against a dark backdrop symbolising the Black Water Channel, his work conveys the peril of their journey.

Against this shadowy 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.

For those yet to embark on the perilous sea voyage, the black waters represented uncertainty. Those already en route likely sought divine protection, while those who reached Taiwan’s shores must have been grateful for their safe passage.

As one reads Hsu’s golden words, the image of Hakka ancestors crossing the strait comes to life — an evocative scene reminiscent of the dance production Legacy by Cloud Gate Theatre Dance. In this mesmerising performance, the fears and perils of their journey come to life through 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 holds profound significance, reflected in their studios, temples, and the so-called xiziting or jingziting — an oblation furnace that symbolises Hakka people’s 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 these traditional “written paper burner.” These furnaces were built to collect discarded papers with writing, and each year, the community gathers for a special ceremony to burn them, honouring the written word.

This furnace in Meinong, Kaohsiung, believed to have been established in the mid-18th century during the reign of Emperor Qianlong (1763-1795), was funded through community donations. At 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, with the structured composition of the characters creating dramatic tension. The aged, yellowing paper on which Chang transcribed the words furthe reveals the passage of time.

One distinguishing features 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 during the 1960s. It holds a significant place in Taiwan’s literary canon and encapsulates the collective memory of the Hakka community. The novel was 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 cultural diversity with its unique customs, practices, and values. One notable figure in this cultural dissemination was 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 later inspired calligrapher Chiang Po-Hsuan (江柏萱)(1987—).

Both from the same town, Sanzhi in New Taipei City, Chiang meticulously transcribed the lines from Jiang’s work in ink. Her wild-cursive script mirrors the music’s melodic undulations, sprawled gracefully across a silk scroll measuring over nine 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, which aims to showcase the various facets of Taiwan’s Hakka culture, including beliefs, literature, music, and even culinary traditions.

Food often serves as a window into culture, and Hakka cuisine is no exception. One Hakka dish, now 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 lies the essence of Hakka culture and practices. Traditionally, Hakka would only offer the “three sacrifices” to the gods on special occasions. These sacrifices consisted of chicken, pork, and dried squid. After the worship, Hakka women would skillfully slice the pork and pre-soaked squid, adding homegrown green onions and soy sauce before stir-frying the 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 deconstructs the term “Hakka people” or kejiaren into its individual characters, inscribing them on separate pieces of paper. When read together, they form the phrase “Hakka people.” But when separated, they convey the meanings of “guest” (ke), “home” (jia), and “people” (ren).

For the Hakka, the concept of what constitutes “home” remains a complex question, one that transcends both physical and cultural boundaries. While generations have passed since their ancestors first 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, encompassing the gatherings of families and relatives? Perhaps it includes all those who share this same piece of land, regardless of cultural background.

The exhibition’s main title — A Dimension to be Found — reflects the curator's effort to explore the many facets of Hakka culture as expressed by Hakka calligraphers. Calligraphy, a shared practice across all ethnicities, often obscures the calligrapher’s ethnicity, making it difficult to distinguish their cultural roots through their works alone.

While the exhibition effectively amplifies the voices of the Hakka, it raises question of whether there is still a need 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 influence their creative expressions. However, it remains to be seen whether future audiences will continue to focus on the cultural backgrounds of calligraphers when engaging with their works.

One undeniable truth is that through calligraphy, these inked characters become living threads in the tapestry of Hakka heritage. They recount the story of a people — from their ancestors’ arrival in Taiwan, to the deepening of their roots, and ultimately, their whole-hearted embrace of Taiwan as 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.