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Why do so many people who were not originally engaged in calligraphy in contemporary China gradually join the ranks of calligraphy associations and calligraphers? It is because these people have tasted the sweetness of calligraphy and the sweetness of obtaining calligraphy rights and status resources by relying on their own status and power. What is important is not how well the characters are written, but as long as they can hold a brush and write a few doggerel poems, it is enough.

So what are the unspoken rules of Chinese calligraphy? That is, calligraphers often obtain their rights and status in the field of calligraphy through their power and status resources in non-calligraphy fields. In other words, their achievements and status in the field of calligraphy are often obtained with the help of non-calligraphy, non-art, and non-aesthetic factors. The legitimacy recognition of calligraphers is also the legitimacy recognition of their power and status in non-calligraphy fields. This recognition just constitutes a hidden rule that is generally tacitly accepted and followed by the Chinese calligraphy community. Although there are similar situations in other art categories in China, they are far less obvious than calligraphy.

In the traditional social context, calligraphy was originally a hobby for literati, a line expression carrier used by literati to express individual emotional consciousness and social construction consciousness. Although ancient literati were also bureaucrats, the personalities of ancient literati and bureaucrats basically overlapped. Whether literati served as officials or not did not fundamentally change or affect their cultural personality. Therefore, we can say that the calligraphy personality in the traditional sense is basically consistent with their cultural personality and official personality.

However, fundamental changes have taken place in modern society. As calligraphers become more and more professional, specialized, market-oriented and utilitarian, and as exhibitions flourish, the cultural personality of calligraphers gradually disappears, and calligraphy becomes increasingly detached from the nature of literati. Not only does it become increasingly detached from literati, but it has also become the exclusive property of some non-literati and fake literati. It has not only become the exclusive property of non-literati and fake literati, but has also become an important means for them to seize calligraphy resources, power resources and calligraphy wealth.

Many people don't even know what calligraphy is but they talk about the art of calligraphy. When they talk about the art of calligraphy, they talk about cultural cultivation, personality training, promoting national quintessence and other empty clichés, dressing themselves up as ancient Confucian scholars, but in fact they are greedy and despicable people. Moreover, such people can often call the shots in the calligraphy world, and the price of their calligraphy can be as high as they want. However, ordinary members of calligraphy associations, no matter how well they write, no one cares about them, so they can only rely on hype and publicity to gain status and increase popularity.

It is precisely because of the existence of power factors that the calligraphy market has been in a long-term downturn. The downturn in the calligraphy market also reflects from another aspect that the calligraphy market is monopolized, controlled, and interfered with. This is just like China's medical reform. The reason why China's medical reform failed is not because of its market-oriented disadvantages, but because of the disadvantages of power. The weird thing about medical reform is that some interest groups have accumulated wealth and monopolized medicine under the guise of market-oriented reform of medical care, making medical care and the pharmaceutical market unable to circulate. This has led to a rapid increase in drug prices, and people cannot afford to see a doctor or take medicine. The pharmaceutical market seems to be market-oriented, but in fact it is power-oriented and monopolized.

The same is true for calligraphy. It seems that every calligrapher's work is clearly priced and enters the market equally, but in fact the so-called calligraphy market only exists in some "powerful calligraphers". However, there is a big difference between the calligraphy market and the medical market. That is, medical reform has led to a sharp increase in drug prices, while the power monopoly of calligraphy has led to a slump in the prices of most calligraphers' calligraphy.

This downturn is not good for calligraphy creators, calligraphy consumers or calligraphy collectors, because the downturn in calligraphy prices will objectively hit the mentality of calligraphy creators, calligraphy consumers and calligraphy collectors. Therefore, many people are only interested in calligraphy works, not the calligraphy market. From previous auctions, we can see that most of the auctions are paintings, while calligraphy is rare. Even if there are calligraphy works, they are mainly ancient and modern, and there are almost no contemporary ones.

Why? First, because collectors and buyers have lost confidence in the overall level of contemporary calligraphy creation. They do not believe that there are truly excellent calligraphers in the contemporary era. Second, because they are quite dissatisfied with the power-dominated development pattern of contemporary calligraphy. They do not trust even those calligraphers whose calligraphy is very expensive. Even the works of powerful calligraphers are difficult to enter the auction market, let alone ordinary calligraphers.

In feudal society, there were no Calligraphers Associations or Writers Associations like we have today, but only some folk calligraphy and literary groups and organizations. Except for the Fushe Society in the Ming Dynasty, these folk groups and organizations were almost non-political and non-profit. In ancient times, calligraphy still achieved glory from generation to generation without the existence of a Calligraphers Association, which was entirely based on a spontaneous folk growth mechanism.

If Chinese calligraphy is to achieve healthy development, it must break the existence of this "hidden rule" of power monopoly, return the association to the people, and return calligraphy to the people. If calligraphy is not returned to the people, then Chinese calligraphy will inevitably develop abnormally.

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