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

COMPOSITION

number of strokes in the parts. The characters in Fig. 123 all have fewer strokes in the left-hand part than in the right; those in Fig. 124,.vice versa. In

certain characters, both the

length and breadth of one Fe xo $a Ag

part are reduced in size. jy, Chih Tien. Hei

But notice that some of (amicable) (to know) eS (thin) igree

these, like those in Fig. 125, FIG. 126

have the diminished part placed roughly on a level with the top of the dominant part, while others, like those in Fig. 126, have the diminished part

placed level with the bottom ? >

of the larger. The object re ~~ eu é

of all these ‘ concessions ’ RR B ae

- always the same—the Chia Kuan Kung Yu achievement of a beautiful (home) (officer) (empty) (to pardon)

pattern. (7) Fu-Kai (# ), ns i

Covering Over. A large Aa

number of characters are Yiin Lao

subject to this principle of ea!) Se

composition. They are all

characters of which the a 全 全 命

upper element resembles a 命

roof or shelter. Thelower xy; Ho Chin

parts must always be (to meet) (to unite) (gold) (on FIG. 127

brought well under the

cover, like the members of a family sheltered by one roof,

and arranged there in orderly fashion, each holding a proper

relation to the others. Of the ten characters in Fig. 127, Chia, [179 ]