Chinese calligraphy : an introduction to its aesthetic and technique : with 6 plates and 155 text illustratons

ABSTRACT BEAUTY

dancer’s whole body and all his limbs must be woven into a harmonious rhythmic movement. The pleasure derived from looking at good calligraphy, or felt in practising it, is exactly this delight of watching a beautiful dancer. We are told that the writing of Chang Hsii (#& #1), a calligrapher highly esteemed for his Grass Style characters, was suddenly improved and inspired after he had watched the Lady Kung-Sun (2 #) perform the ‘ Dance of the Two-Edged Sword’. Blasis Carlo says in ‘ The Code of Terpsichore’ (1830) :

When the arms accompany each movement of the body with exactitude, they may be compared to the frame that sets off a picture. But if the frame is so constructed as not to suit the painting, however well executed the latter may be, its whole effect is unquestionably destroyed. So it is with the dancer ; for whatever gracefulness he may display in the performance of his steps, unless his arms be lithesome and in strict harmony with his legs, his dance can have No spirit nor liveliness, and he presents the same insipid appearance as a painting out of its frame or in one not adapted to it’ (page 28).

A dancer has to pay particular attention to the logical and harmonious co-ordination of feet and arms. As a rule the two run in fairly obvious concord: with a wide movement of the feet the action of the arms is likewise large. In the following characters a similar correspondence is displayed.

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FIG. 85 [ 127 ]