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

ABSTRACT BEAUTY

(5) A Wan (#), a sharp curve, J and (_, like the sinews and joints of a strong crossbow, pliable in appearance but in teality tough.

(6) A Na (#8) or downward stroke \., made from left to right—the opposite of Pieh—like a wave suddenly rolling up or a flying cloud emitting growls of thunder!

(7) A T% (I), a downward stroke \\, moving from left to

right, but straighter and stiffer than Na, and made to appear like a drooping pine-tree with firm roots.

To those not versed in the technique of calligraphy, and particularly in the handling of the brush, these terms, for all their vividness, will seem remote from the actual practice of writing. All the necessary information on technical matters is given in the next chapter; but I think that even without this information the *‘ Seven Mysteries’ are illuminating as giving some idea of the beauty and movement which Chinese people expect to find in the strokes of a good ‘ hand’.

But we claim that not only the separate strokes but the structures of the complete characters are basically inspired by Nature. During the long course of our artistic history innumerable writers have made exhaustive researches into the possible variations of stroke and structural form, with the result that there is now hardly an organic shape or a movement of a living thing that has not been assimilated into our calligraphy. The great masters of the past set themselves to absorb natural beauties and to translate them into the strokes and structures of characters, and their successors have classified their achievements. In the previous chapter you will find examples of strokes inspired by the brittleness of the sheep’s

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