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

CHINESE CALLIGRAPHY

has a visual significance of its own and contributes in addition to the meaning of the whole.

The Chinese value calligraphy, as I have already said, purely for the sake of the satisfactory nature of its lines and groups of lines; they acknowledge no necessity for the thought expressed to be beautiful. The aesthetic of Chinese calligraphy is simply this: that a beautiful form should be beautifully executed. A piece of writing lacking the second factor would be merely vulgar. An identical series of characters can be

_-written by two hands, and though the lines described are precisely the same, with no difference at all between the curves and the structures, the work of the one hand will be an object of joyful contemplation while the work of the other appears so common that the untutored onlooker feels he could do as well himself! A fine stroke by a good calligrapher (examples of which are given in the last chapter) is not easy to analyse, still less to imitate. Its aesthetic quality does not vary with the changes of fashion; many other styles may—and always dosucceed it, but it remains as satisfying and admirable as when it was first conceived.

The power to distinguish good strokes from bad depends upon taste and experience. In an ordinary decorative design, provided the curves and straight lines are of even breadth and consistent movement, two different hands can sketch it equally well; slight differences which may appear in the sketches can be adjusted subsequently. But a line in Chinese calligraphy is executed with a single stroke of the brush ; it is not possible to touch it up afterwards; the writer’s skill, or lack of it, are always only too apparent. Perfect co-operation between mind and hand, such as can only be achieved by years of practice,—

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