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

CHINESE CALLIGRAPHY

and slim, meticulous as to detail, with a somewhat effeminate temperament ; we can even affirm that he was slow and measured of speech. Again, if we study the writing of Mi Fei (Fig. 46), the somewhat colloquial English word ‘ tubby ’ springs to the mind as a good description of the artist’s general appearance. I imagine him walking with amused deliberation, head erect, alert and whimsical—the sort of man who would kneel down to worship a grotesque rock as his beloved brother? and paint misty mountains with the bold and humorous ‘ Mi dot’. The writing of Su Tung-P‘o suggests to me a man fatter, shorter, more careless in nature than Mi Fei, but broad-minded, vigorous, a great laughter-maker and a great laugher (Fig. 40). The writing of Huang T‘ing-Chien, on the other hand, tells a different story. I should say he was a tall man, lean but strong, firm of will, obstinate even, but generous-hearted in his actions to others (Fig. 38). These are rough judgements only: many finer points could be deduced from more careful study of the written characters.

In former times the ability to write well was the passport to a successful official career, a good handwriting being one of the highest desiderata in the Civil Service examinations. All through the long period from the T‘ang dynasty (a.D. 618-905) to the Ch‘ing (A.D. 1644-1911) the examination system for officials was arranged in three stages—District, Provincial, and Palace,and at each, the handwriting of the candidates came in for the most careful scrutiny, success being withheld, no matter how brilliant the composition, if the characters were poorly formed. It may safely be said that all those who achieved the distinction of passing the Palace Examination were notable calligraphers.

1 Cf. The Chinese Eye, page 158. [12]