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

CHINESE CALLIGRAPHY

work of the characters, so afterwards in contemplation we experience an emotional pleasure akin to that of direct contact with natural beauty. Every twig of a living tree is alive; and every tiny stroke of a piece of fine calligraphy, inspired by some natural object, has the energy of a living thing. The strokes of a printed character are very different; they are inspired only by draughtsmanship, and can be copied by the most insensitive. So, too, with a stroke which is ‘ painted’, i.e. deliberately formed in direct imitation of a natural object ; its superficial verisimilitude prevents it having the true vitality of art. Nor can a good stroke be made with any kind of pen or pencil. The brush alone—the same brush as the painter uses —can effectively reproduce the movements of clouds and trees.

In modern Chinese calligraphy certain types of stroke have become standardized. ‘Their ideal forms are called the * Seven Mysteries ’, Ch‘i-Miao (+4 x). A writer who can achieve all seven of them may rest assured of winning lasting fame. They are as follows :

(1) A horizontal line or Heng ($&) =, so written as to seem like a formation of cloud stretching from a thousand miles away and abruptly terminating.

(2) A dot or Tien (35) e, giving the impression of a rock falling with all its force from a high cliff.

(3) A Pieh (st) or sweeping downward stroke, written from right to left A, so that it has the sharp edges of a sword, or looks like the glittering horn of a rhinoceros.

(4) A vertical line or Chih (iB) |; like a vine stem thousands of years old but still stout and full of strength.

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