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

CHINESE CALLIGRAPHY

Of the Ming (#8) dynasty writers (A.D. 1368-1644) Tung Ch‘iCh‘ang (# it &) is the most notable exponent. From the Ch‘ing (i) dynasty to the present time, writers have tried to put new blood into their imitations of the old masters by incorporating elements from ancient stone inscriptions. I have given (pages 69-79) a few examples of the many variations of K‘ai-Shu that have been created.

It can safely be said that K‘ai-Shu is the most typical style of Chinese calligraphy. Though strongly differentiated from both Li-Shu and Chiian-Shu, it holds an uncontested place both as a practical medium for daily use and as a graphic art. Each individual variant has, as we shall see later, its corresponding version in Hsing-Shu and Ts‘ao-Shu.

HSING-SHU OR RUNNING STYLE

Hsing-Shu or Running Style was the invention of Liu TéSheng (4) # Ft), of the Later Han period. In its most highly developed form it departs from the strict formality of Lz-Shu. The angles of Li-Shu are softened and a great deal of movement and ease added. Both this style and Chang-Ts‘ao (# ®) were created before the real K‘az-Shu was established. Hsing-Shu cannot therefore be said to have derived from K‘ai-Shu ; itisa parallel style which prevailed at the same time. As the Regular Style developed and ramified it was inevitable that one variation should be a combination of K‘ai-Shu and Hsing-Shu. The two found each other good companions, and became, indeed, inseparable ; every type of K‘ai-Shu came to have a corresponding type of Hsimg-Shu. Running hand, as its name suggests, allows of freer handling and more vivid movement.

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