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

CHINESE CALLIGRAPHY

free for writing. As we grind we meditate, making our minds as calm as possible. An amateur about to make a copy should spend this time studying the model carefully to find out which points are particularly beautiful. A more accomplished calligrapher about to write a piece of his own composition would devote himself to visualizing his characters—their special beauty of stroke or structure. The amount of ink required to complete a piece of writing should be estimated at the outset. To be on the safe side we usually grind a little more than we expect to use. To be obliged to grind more than one lot of ink for the same piece of writing usually results in a noticeable variation of colour and thickness. Moreover, if a considerable pause has to be made, a change in the whole feeling of the writing is likely to become apparent. If the ink is ground too thickly it will not run freely on the paper; if it is too thin it will blot and expand into lines thicker than you intend, for the paper is very absorbent, somewhat like blotting-paper. In general it can be said that the ink is ready for use when the surface of the stone emerges through the liquid. It is best to test it at this point with your brush on the paper. If your ink-stone is not large enough to grind all the ink required at one time, it is necessary to grind two or three lots and pour the extra fluid into a cup, dish or other receptacle in which it will not easily evaporate. It is always wise to make fresh ink for each piece of writing. Left on the stone, especially during our hot Chinese springs and summers, the gum becomes affected and the ink flows harshly and unevenly over the paper. Old ink is also apt to . turn an unpleasant brownish colour.

I have described the character of our paper and how we lay it on the table; but I have not told you that we always put

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