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

CHINESE CALLIGRAPHY

most talented calligraphers of the day were doubtless employed to engrave them, but unfortunately no trace of their names and careers remains. The process of engraving upon bronze and stone is an art in itself. In Chinese it is termed Chin-ShihHsiieh (& 4 #2), the Study of Metal and Stone. All through the centuries Chinese scholars have made it a subject of study and discussion.

Many later calligraphers have imitated the Ku-Wén Style in order to train their eyes to well-balanced construction and their hands to strength of stroke. Down to the last dynasty, writers have been in the habit of refreshing their minds and technique by practising Ku-Wén, and all the most renowned exponents have distinguished themselves in this style.

Ta-Chiian (Great Seal) is not very different from Ku-Wén (Ancient Script): it is a synthesis of the variants of that style. The most famous and admired examples of it, the “ Stone Drum Inscriptions ’, have for centuries been the subject of enthusiastic comment by scholars. The prominent T‘ang dynasty writer, Han Yii ( #&), composed a long poetic eulogy in praise of these characters. His fine poem makes us vividly aware of their firmly patterned strength. The drums were discovered in the Pao-Chii district of Shensi, and are treasures for both calligrapher and archaeologist. Copies of them are now kept in the gateway to the Temple of Confucius in Peip‘ing. Unfortunately only two hundred characters remain, and the numberless rubbings of them taken by scholars has left even these in a very worn condition (Fig. 16). Wu Ta-Chén (4 大 @&) and Wu ChangShih ( 吳 & 7M) are famous exponents of Ta-Chiian.

As has already been explained, previous to the unification of China under the first Emperor of Ch‘in, each of the feudal

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