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

CHINESE CALLIGRAPHY

upright and the left and right flanks appear to hold it up. These effects are subtle but can usually be mastered with practice.

(14) Hu-Pao ((] #4), and Pao-Ke (@1 3), Embracing and

Wrapping Up. These principles apply to characters in which

one or more strokes embrace or fold round the rest. There

are ny ways in which this can occur. In Fig. 136, Pao,

Mien, and Yang each have

包 $, a long, curving stroke in

», BS the left-hand part that em-

ae oe braces the right-hand part ;

eee al Gv hirled) T‘ung and Shang have three

strokes which begird other

= vp? characters from above;

同 1) ZA 3% Hsiung and Yu have similar

Tung Shane i Elstune strokes begirding the char-

(nd) however) (Grud) (allen) acters from below; Kuang

= and Kuez effect the ‘ wrap二 一 a) DP. ping’ in a rightward

direction, Hsiin and Wu in Kuang Kuei Hsiin

0 @big (period ee 全 a leftward. Dangers to Se avoid are over-extending FIG. 136 the embracing strokes and,

in the endeavour to achieve the embracing effect, curving them round too much. Thus, if the rightward-sweeping stroke in Pao, Mien and Yang is made too long, the embraced element will not seem to fill the imaginary space enclosed ; while if it is curved round too much it will cause the embraced element to look cramped. In characters in which the ‘wrapping’ is effected upwards or downwards, the base or top as the case may be is slightly con-

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