Chinese calligraphy : an introduction to its aesthetic and technique : with 6 plates and 155 text illustratons
CHINESE CALLIGRAPHY
of the brush is obtainable with the Chén-Wan (#: if), Pillowed Wrist, position shown in Fig. 95, in which the right wrist rests
FIG. 94 (P‘ing-Wan)
called T%7-Wan (# fit), Raised Wrist (Fig. 96), and allows the brush to operate over a_ greater ambit. For still larger characters, both wrist and elbow are held above the table (Fig. 97). HsiianWan (8 Bi), Suspended Wrist, is the name for this method, and without
upon the left hand. This method is most convenient for writing small characters. Strokes produced in this way have a steady, firm appearance. For medium-sized characters it is better to let the elbow rest on the table and to raise the forearm at an angle of about 25 or 30 degrees. This position is
FIG. 95 (Chén-Wan)
doubt it is the most important position in the training of a calligrapher. If no part of the arm touches the table, the