Leaning or standing upright like a proper gentleman, the upper half [of the character] sits comfortably, while the bottom half supports it.
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Calligraphy that has much bone but slight flesh is called sinew-writing; that with much flesh but slight bone is called ink-pig. Calligraphy with much strength and rich in sinew is of sagelike quality; that with neither strength nor sinew is sick. Every writer proceeds in accordance with the manifestation of his digestion and respiration of energy.
Other writings on calligraphy use nature metaphors to express the sense of wonder, the elemental power, conveyed by written words:. Sun Guoting, 7th century.
- Chinese calligraphy Essay.
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- Calligraphy and Painting.
Description of the calligraphy of Wang Xizhi by Emperor Wu [r. And so, despite its abstract appearance, calligraphy is not an abstract form. Chinese characters are dynamic, closely bound to the forces of nature and the kinesthetic energies of the human body.
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But these energies are contained within a balanced framework—supported by a strong skeletal structure—whose equilibrium suggests moral rectitude, indeed, that of the writer himself. How can a simple character convey all this? The use of brush and ink has much to do with it. The seeming simplicity of the tools is belied by the complexity of effects. A multiplicity of effect is produced in part by varying the consistency and amount of ink carried by the brush.
Black ink is formed into solid sticks or cakes that are ground in water on a stone surface The calligrapher can control the thickness of the ink by varying both the amount of water and the solid ink that is ground. Once he starts writing, by loading the brush sometimes with more ink, sometimes with less, by allowing the ink to almost run out before dipping the brush in the ink again, he creates characters that resemble a shower of rock here, the wonder of a drop of dew there. The brush, above all, contributes to the myriad possibilities Unlike a rigid instrument such as a stylus or a ballpoint pen, a flexible hair brush allows not only for variations in the width of strokes, but, depending on whether one uses the tip or side of the brush, one can create either two-dimensional or three-dimensional effects.
Chinese Calligraphy Essay
And depending on the speed with which one wields the brush and the amount of pressure exerted on the writing surface, one can create a great variety of effects: rapid strokes bring a leaping dragon to life; deliberate strokes convey the upright posture of a proper gentleman. But the physical gestures produced by the wielding of the brush reveal much more than physical motion; they reveal much of the writer himself—his impulsiveness, restraint, elegance, rebelliousness Abstract as it appears, calligraphy more readily conveys emotion and something of the individual artist than all the other Chinese visual arts except for landscape painting , which became closely allied with calligraphy.
It is no wonder that twentieth-century American Abstract Expressionists felt a kinship to Chinese calligraphers. But expressive as calligraphy is, it is also an art of control. A counterbalance of order and dynamism is manifested in all aspects of Chinese writing.
The characters of xingshu are not abbreviated or connected, but strokes within the characters are often run together. Article Media. Info Print Cite.
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