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

THE STYLES

style must in future derive—from the ancient foundations. That is why budding calligraphers still dutifully study the old styles and techniques.

Neglecting the minor styles, I will now deal briefly with the five principal ones only : Chiian-Shu, Li-Shu, K‘ai-Shu, HsingShu and Ts‘ao-Shu. Only the most general forms of each will be considered, though it should be understood that each is susceptible of considerable individual variation.

CHUAN-SHU OR SEAL STYLE

Under this general heading I am including Shell-and-Bone writing, Ku-Wén or Ancient Script, Great Seal and Small Seal.

The recent excavations in Honan province have brought to light many interesting examples of the most ancient Chinese script. Bones of animals and tortoiseshells, of considerable archaeological value, have been dug up and found to bear characters engraved upon them. The well-composed patterns and linear qualities of these characters have suggested new methods of treatment to calligraphers. But so far few have distinguished themselves by their inventions. The only important names in this field are Lo Chén-Yii (#2 tg 玉 ) and Yeh Yii-Shen (# 3: #) (Fig. 10).

The Ku-Wén Style occurs in the characters inscribed on bronzes in the period before the invention of Ta-Chiian (Great Seal). The arrangement and interrelation of the lines of the characters differ in every example, but each has its own value and beauty. The ancient bronzes were used in important national ceremonies and at the services of ancestor worship. As is to be expected, therefore, the characters are dignified and sublime, and designed to endure for many generations. The

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