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

TECHNIQUE

the fourth finger backs on to the posterior side. The little finger is held close behind the fourth finger, supporting it and giving added firmness to the stroke. This is called the Five Character Method of Brush-holding, or in Chinese, Yeh (i), Ya (IE), Kou (#1), Tieh (BK), and Fu (#), characters which represent the five fingers of the hand in action.

The thumb and second finger are the most important members, receiving the strength of the wrist and arm and regulating the pressure of the stroke. The middle and fourth fingers do the work of turning and moving, for the middle finger can twist the handle downwards or to the right, while the fourth lifts it upwards or to the left. When the fourth finger is in process of lifting the brush, the middle one can adjust it; while the middle finger is hooking the brush the fourth one can prevent it from slipping too far. The little finger plays the part of conductor, sometimes drawing the fourth finger to the right and sometimes pushing it to the left. In this way each of the five fingers plays its part. The work is distributed, and the fingers never tire. Another name given to this method of holding the brush is Po-Téng (# #8), Touching the Stirrup, the explanation being that when only part of a rider’s feet rest, lightly but firmly, in the stirrups, it is easy for him to move and turn and control his horse, and a brush held in the fingers, away from the palm, offers similar freedom and control to a writer. The fingers must all co-operate. This is an important point. Only a small part of them touches the brush, but every part must assist if the hold is to be firm. There is no need to handle the brush in a strange or awkward fashion. The essential is that the strength of wrist or arm should flow into the stroke.

[ 139 ]