In the first half of the twentieth century, China set off a wave of literati emigrating to Malaya. This group of literati included many outstanding calligraphers who have known as “calligraphers coming to the south”. They were the founder and pioneer of Malayan calligraphy. Oracle bone inscription calligraphy also opened up a new field of practice outside of China with the arrival of calligraphers coming to the south. Time flies, and since the division of Singapore and Malaysia, the practice of the oracle bone inscription calligraphy of the calligraphers coming to the south has gradually been buried in the long river of time, and has not yet been sorted and analyzed. Based on this, I tried to sort out the practice of oracle bone inscription calligraphy by the calligraphers coming to the south, and tried to get a glimpse of the practice of oracle bone calligraphy at that time by collecting and analyzing the oracle bone inscription calligraphy and comments scattered around.

Through analysis, it can be found that the calligraphers coming to the south generally used the oracle bone inscription to create their artwork. In the direction of creation, many calligraphers continued the aesthetics and techniques of traditional calligraphy to practice the oracle bone inscription calligraphy, and most of them inherited and continued the achievements of the China oracle bone calligraphy. Due to differences in the depth of knowledge of oracle bone inscription, there was a clear gap between the level of calligraphers. On the other hand, some calligraphers in Malaya were impacted by Eastern and Western cultures to think about the artistic development space of Chinese calligraphy, and used oracle bone inscriptions as creative materials to carry out a series of exploration and creation, leaving a valuable historical for the practice of oracle bone inscription calligraphy.