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

CHINESE CALLIGRAPHY

must start by imitating the old writers. Those who cannot acquire the good qualities of old writings cannot put their talents into their own. But before one can copy an old example faithfully one makes hundreds of unsuccessful attempts, for only when one has learned to make the same movements and turns of the hand as the original calligrapher will one succeed in making a perfect copy.’ So, you see, the imitation and copying of good calligraphy constitutes a very important part of the training of a calligrapher, and the acquisition of good examples to copy is imperative.

The early morning has always been regarded as the best time for practice. The mind, as well as the world, is fresh at this time, and—what is almost as important—the light is clearer and stronger than it is later in the day. Artificial light of any kind is inferior to even poor daylight. This fact will seem more evident to a Chinese than to an Englishman, because in China, where the climate is by comparison with England dry, the daylight is brighter. But even allowing for the good artificial light generally available in England, I still find it is best to write by daylight as far as possible. After writing for some time by electric light my eyes get very tired and the edges of my strokes become blurred instead of sharp. This confirms the Chinese belief that lamplight not only hinders the making of beautiful strokes but impairs the eyesight.

Posture is another consideration which affects both the calligraphy produced and the writer’s health. The body should be held square to the table, with the chest not more than three inches from the edge. The back should be upright—at right angles to the surface of the table ; and the shoulders level and parallel to the table. It is wrong to incline or twist the body,

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