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

THE STYLES

TS‘AO-SHU OR GRASS STYLE

As I have already explained, the variety of Ts‘ao-Shu known as Chang Ts‘ao was in existence before K‘ai-Shu. Controversies still rage as to the identity of the inventor. Some records propose the Han Emperor Chang, arguing from the name; others prefer T‘sai Yung or Tu Ts‘o (#t #). The meaning of the word chang is ‘essay’ or ‘chapter’; f¢s‘ao signifies ‘ grass’ and has besides the adjectival sense of ‘rough’. The two words combined give us the expression ‘ rough essay ’ or ‘ rough draft’, something written quickly and perhaps carelessly. Ts‘ao-Shu may be supposed to have been written, in the first instance, in a hurried, sketchy manner, for the sake of convenience ; but, later, scholars found a certain beauty in it and an interest in practising and perfecting it. Each character in the Chang-Ts‘ao Style is written separately and the style thus differs from the later Ts‘ao-Shu. The undulating movement of the strokes was doubtless derived from Li-Shu, especially from the Pa-Fen variety.

The later Ts‘ao-Shu, developing simultaneously with K‘aiShu and Hsing-Shu, grew more and more care-free and ‘ grassy ’, as the following examples show. The uncurbed force and rapidity of the style causes every character in a complete piece to have both an inherent and a visible link with the rest. For this reason many descriptive names have been given to special variations of Ts‘ao-Shu, such as Flying Grass, Scattered Grass, Twining Silk Grass.

Generally speaking, Chiian-Shu and Li-Shu are the most decorative styles, and are used on important occasions for the sake of their beauty and dignity. For practical use their incon-

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