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

CHINESE CALLIGRAPHY

The ‘Long-vertical Pieh’, Chang - Shu- Pieh (長 & i), written in the same way as the ‘ vertical pteh’, but the central part of the stroke, before it swerves to the left, is longer.

The ‘ Hu-feng Pieh’, Hui-Feng-Pieh (30 % i&), or ‘ Returning-point Pieh ’, is written in the same way as any other pieh, but is shorter and turns upwards and back at the end without leaving a sharp point. When two pzehs occur in the same character one is written in this way in order to avoid repetition.

The ‘ Level Pieh’, P‘ing-Pieh (4 i&), is written in the normal way: first to the right, then to the left, then slightly turned back.

The ‘ Orchid-leaf Pieh’, Lan-Yeh-Pieh (ij # i8}), so called from its shape, is written by laying the point of the brush-hair as in the figure and then sweeping it steadily to the left.

A sweeping rightward stroke is called Na

(#) in Chinese. This particular one, the ‘ Ver-

tical Na’, Shu-Na (& #5), sweeps rightwards with a rather steep slant. For the lower part of the stroke the Tun movement is used, steadily

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stretching towards the right. It is also called ‘ Duck’s-beak Na’, Ya-Cho-Na (‘ils "& #8).

The ‘ Level Na’, P‘ing-Na (48 #5), is in shape and movement like a wave rising and falling. It is written first to the left, then to the right, and at the end turns back a little. It is also likened

to a swimming fish. [158 ]