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

TECHNIQUE

a second sheet of paper beneath the one on which we are going to write, in order to prevent the ink from running through on to the surface of the table. The calligrapher has to be very careful to move this backing sheet whenever he moves the writing sheet, otherwise the wet spots on the underside will make blotches on the calligraphy. Generally we write on scrolls of paper, and when these are longer than the width of the table, we like to get some one to hold the top end and move the paper and lining together as we write. When writing very large characters we lay the whole sheet upon the floor and write there, kneeling down or bending over.

The Chinese brush is made of animal hair, tied together in small bunches and fixed into a hollow reed or very thin bamboo stem. Usually the handle is mounted with a small tip of gold, silver, jade, ivory, or crystal. The brush is stiffer than that used in the West for water-colour painting. The tips of the hairs form a very fine point which is extremely sensitive and pliable in use. The hair of many different animals is employed : sheep, deer, fox, wolf, mouse, or rabbit, according to the taste of the writer or the requirements of a particular style. For small, delicate characters, rabbit’s hair is the most popular ; for bold characters, sheep’s hair is the best. As we write principally with the tip of the brush, it is important that every hair should be of even length, smooth, and straight. A single curly or irregular hair would destroy the appearance of strength in the stroke. Every calligrapher should possess his own brushes - and condition them to his habits until they respond to his slightest movement. Many famous writers, indeed, have made their own tools, just as in the past Westerners have cut their own pens from reeds or cane. But the possible ways of making

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