Chinese Calligraphy: An Introduction to its Aesthetic and Technique - Report Example

CHINESE CALLIGRAPHY Name Institution Date Introduction Calligraphy is simply a kind of visual art associated with writing. It involves the use of a brush in a single stroke or a broad tip of an instrument to design and execute writing. Use of calligraphy is a common practice among the Chinese nations, namely; Japan, China, Korea and Vietnam. Chinese calligraphy and painting are closely intertwined and many a time has been confused to be one and the thing; perhaps because they involve the use of similar tools as well as techniques to be achieved. Unlike many cultural arts in the world which are often general, Chinese paintings are unique to Chinese culture and identify with motion and the dynamics of life in the Chinese culture. Consequently, calligraphy has contributed to the development of various types of art in China, including; inkstones, omate paperweights, and the seal carving (Zhihong & Olive 2010, Pp.5-7). History of Chinese calligraphy Scholars argue that the Chinese written language started way back in the ancient times; preciously more than three millenniums ago and has evolved overt the years into five major categories in contemporary society. The ancient writing involved use of ideographs and pictograms that were embossed on oracle bones and jade surfaces, or imprinted on to the surface of customary bronze vessels. Gradually, as the written language evolved to a standardized form, the “seal” scripts emerged (Youhe1993, p.5). Later on (2nd century A.D.), “clerical” script commonly referred to as lishu emerged. It was commonly used by government clerks. It was during this period that the use hair brush gained popularity; it had a supple tip that was used to produce effects, for instance the final wave like diagonal strokes of characters that would not be achieved by use of incised characters. Other forms of calligraphy that were discovered during this time include; the “running" script (xingshu) and "cursive" script (caoshu). Both scripts were a natural progress and reaction to the artistic potential of ink and brush; and they involved the use of individual characters in an abbreviated form. As the Chinese got more creative, a final script referred to as "standard" script (kaishu); this was achieved by inflecting more ink and asymmetrical features of cursive script and clerical scripts (Youhe1993, Pp 7-10). It is important to note, the above five styles were achieved by emulating the styles of ancient masters; the later writers overtime made additions to the writings to come up with other styles. Over the years, calligraphers have enjoyed the autonomy to use any of the above script styles, depending on the purpose they would want to achieve or text function. Perhaps, you may wonder what materials and tools were used and how were they used to develop these texts. The subsequent discussion of this essay will get your questions answered. Materials and tools The paper, ink, ink brush, and inkstone were the primary requirements in accomplishing the Chinese calligraphy. In addition to the mentioned tools, desk pads, a water-dropper, and paperweights were the other materials that were used by the calligraphers. Brush The brush is the conventional writing tool in the Chinese calligraphy. The body of the brush commonly made from bamboo, while the head of the brush was made from hair strands or feathers. The calligraphy brushes are generally perceived as an extension of the calligrapher's arm. In contemporary society, calligraphy may be achieved by use of pens; however use of pens for calligraphy seems to enjoy little prestige when compared to the traditional brush for calligraphy. Paper Unique types of paper are used in the Chinese calligraphy. For instance; in China traditional paper manufactured in Anhui province, is the preferred paper type in calligraphy. It is made from the Tatar wingceltis and other materials such as rice, the paper mulberry, hemp and bamboo. Paperweights During writing, paperweights are used to press down and have a grip of the paper. A paperweight is put on top of the large pages as a support to prevent them from slipping while writing. There are various types of paperweights; they include oblong wooden blocks carved with calligraphic or pictorial designs; small sculptures of animals or people. It is important to note that paperweights on their right are collectible works. Desk pads The desk pads are made of felt. Desk pads are in print with grids and are placed under the translucent paper to ensure appropriate placement and size of characters. Ink and Inkstick The ink used in graphic writing, is manufactured from lampblack and binders, which is then put in ink sticks which are rubbed with water on an inkstone till the correct consistency is achieved. As easy as it may sound, learning how to rub the ink was a very important part in the study of calligraphy. Traditionally, only black ink was used in the Chinese calligraphy; however modern calligraphers use various colors. For instance, Calligraphy teachers prefer the use of red ink or bright orange ink in correcting student work or writing practice characters on which students trace. Inkstone The role of inkstones is to grind the solid inkstick into liquid ink and as well as to contain the ink once it is liquid. Chinese inkstones tend to be highly appreciated therefore are highly prized art objects and a far-reaching bibliography is devoted to their history. Seal and Seal paste Works of Calligraphy are never complete till the calligrapher puts his seal at the end by use of red ink; such seals are as good as a signature. Technique: principles The size, shape, type and stretch of hair in the brush, the density and color of the ink, the paper service texture as well as absorptive speed are the primary physical parameters that will influence the final result. The calligrapher will determine the final result by the quantity of ink/water he allows the brush take up, the pressure applied, inclination of the brush, as well as the direction he gives to the brush, producing bolder or thinner strokes, as well as toothed or smooth borders. Finally, the speed, deceleration and acceleration of the writer's moves, crochets and turns, and the stroke order to the characters influences very much their final shape (Yee, 1954). Significance of Chinese culture Calligraphy as an art of writing is a visual art form that is a highly regarded among the Chinese. The art of calligraphy and painting emerged at the same time, and were achieved by use of common tools such as brush and ink. However more than painting, calligraphy has evolved into a highly ranked and revered fine art. This elevated status of calligraphy demonstrates the significance of the word among the Chinese. Just to illustrate; from early times in history the Chinese emperors affirmed their authority presence and posterity by engraving their very own pronouncements on the sides of mountains as well as on marble steles put up at outdoor sites. In addition to the essential role played by the written word in conventional Chinese culture, what makes it so distinctive is its visual form. Learning to read and write Chinese may be so challenging; since there is no phonetic or alphabet (Youhe., 1993, p.13). In writing, each word is represented by unique symbols, commonly referred to as “characters” therefore every word ought to be learned separately all the way through a laborious process of writing the characters over and over again till it is memorized. The subsequent example illustrates how daunting it can be: to read a newspaper an individual would require to be knowledgeable in at least 3,000 characters; a well-educated individual would be familiar with approximately 5,000 characters; and a professor would be conversant with about a 8,000 characters. Yet it is argued that there are well over 50,000 characters that exist, therefore indicating that many of the characters are still unused. However what may seem as the drawback of the written Chinese language has also been regarded as its strength. Unlike words written by the use of alphabets, the Chinese characters have the advantage of conveying information well beyond the semantic meaning or phonetic sounds. Calligraphic words play many roles; besides a character denoting a certain meaning, it also in its very form exposes itself as a moral exemplar, and a demonstration of the vitality of nature and energy of the human body itself (Youhe., 1993, Pp.14-18). A good example is the Tang-dynasty texts that depict calligraphy in both moral and physical terms. In this case, the correctly written character takes the identity of a Confucian sage, spare in the flesh but strong in backbone. As communicative as calligraphy is, it is also regarded as an art of control. A counterbalance between dynamism and order seem to prevail in all dimension of Chinese writing. In customary Chinese texts, word arrangement is done vertically columns, read from right to left. In, traditional texts are not punctuated, nor are proper nouns easily identifiable from other characters. The systematic arrangement of characters is intrinsic in each and every individual character .The characters are not written in a haphazard manner: a recognized stroke order makes certain that a character is written precisely the same way each time. Therefore this makes its manageable to memorize the art of writing. Calligraphy done by individuals well experienced in the use of the brush strength tends to have much bone; while those done by individuals not good in the brush have much flesh. Calligraphy attributed with much bone than flesh is referred to as sinew-writing; while that that more flesh but less bone is referred to as ink-pig. Calligraphy rich in sinew and with great strength is of sage like quality; while that with neither sinew or strength is sick. Often writers will undertake writings in accordance to the manifestation of his/her digestion as well as respiration of energy (Da 1990, p.32). Some writings on calligraphy employ nature metaphors as means of expressing the sense of wonder, as well as the elemental power articulated by written words: Sun Guoting, (7th century) argues that when he observes calligraphy; he sees the wonders of a dew drop that glistens from dangling needle, a rock shower hailing amidst raging thunder, a geese flock gliding in the sky, a phoenix dancing, and frantic beast stampeding in terror. And so, notwithstanding its conceptual appearance, calligraphy is not necessarily an abstract form. Chinese characters are vibrant, strongly linked to the nature forces as well as the kinesthetic energies in a person’s body. But these energies are controlled within a balanced framework whose equilibrium recommends s moral rectitude in the writer himself. How a simple character conveys all this, is a wonder to many. However the answer is simple; the brush and the ink work the magic. The simplicity of the tools is belied by the complexity of its impacts. A multiplicity effect can be attained by varying the constancy as well as the quantity of ink carried by the brush. The calligrapher controls the ink thickness by regulating both the amount of water as well as the solid ink that is ground. The moment a calligrapher starts writing by loading the brush in some cases with more ink and less ink on others; by letting the brush to more or less dry before dipping it again in the ink, consequently creating characters that remind you of a shower of a rock here, and the wonder of a drop of dew there (Da 1990, p.34). Among other tools, the brush plays a vital role in the myriad possibilities. Unlike other instruments that seem to be rigid; for instance ballpoint pen or stylus , a hair brush is flexible thus allowing for a discrepancy in the stroke widths; depending on the tip of the brush used one can result with either a three-dimensional or two-dimensional effects. On the other hand the speed with which one wields the brush as well as the amount of force exerted on the writing platform, one can produce diverse effects; for instance rapid strokes will bring a leaping dragon to life ; purposeful strokes reveal the upright posture of a proper gentleman(Da 1990, p.35). Essentially, the brush serves an extension of the arm of the writer and indeed, his entire body (Da 1990, p.48).. Consequently, the physical gesture resulting through wielding the brush depict much more than just physical motion; they demonstrate much of the writer impulsiveness, elegance, restraint, and rebelliousness . Abstract as it is perceived, calligraphy readily expresses emotion better than other Chinese visual arts, with the exception of landscape painting which is closely associated with calligraphy. Conclusion Calligraphy is strongly embedded in the Chinese culture. Mention the history of the Chinese and calligraphy comes up. Though complex, calligraphy has thrived and evolved over the year into more refined and highly ranked arts in the contemporary society. As complex as it is perceived, learning to read and write Chinese may be so challenging; since there is no phonetic or alphabet. Therefore the extent to which the calligraphy would be used will be used will depend on his knowledge and experience in calligraphy. Calligraphy done by individuals well experienced in the use of the brush strength tends to have much “bone”; while those that are done by individuals not good in the brush have much “flesh”. A multiplicity effect may also be achieved by varying the constancy as well as the quantity of ink carried by the brush. All said done, the argument by many scholars that use of graphics has added life into the Chinese culture is undisputable. References Chiang, Yee. Chinese calligraphy; an introduction to its aesthetic and technique.. [2d ed. Cambridge, Mass.: Harvard University Press, 1954. Print. Fazzioli, Edoardo, and Rebecca Hon Ko. Chinese calligraphy: from pictograph to ideogram : the history of 214 essential Chinese/Japanese characters. New York: Abbeville Press, 1987. Print. Hawley, W. M.. Evolution of Chinese writing. Hollywood: by the author, 1943. Print. He, Zhihong, and Guillaume Olive. My first book of Chinese calligraphy. Tokyo: Tuttle, 2010. Print. Kwo, Da. Chinese brushwork in calligraphy and painting: its history, aesthetics, and techniques. New York: Dover, 1990. Print. Lee, So Kam Ng.. Brushstrokes: styles and techniques of Chinese painting. San Francisco: Asian Art Museum of San Francisco;, 1992. Print. Nakata, Yūjirō. The art of Japanese calligraphy. [1st English ed. New York: Weatherhill, 1973. Print. Willetts, William Y.. Chinese calligraphy: its history and aesthetic motivation : the record of an exhibition of Chinese calligraphic art held in the University of Malaya from 17 October to 10 November 1977. Hong Kong: Oxford University Press, 1981. Print. Yi, Yuan, and Mingxiang Xiong. The beginner's guide to Chinese calligraphy: an introduction to Kaishu (standard script). New York: Better Link Press, 2008. Print. Yue, Rebecca. Chinese calligraphy made easy: a structured course in creating beautiful brush lettering. New York: Watson-Guptill, 2005. Print. Zeng, Youhe. A history of Chinese calligraphy. Hong Kong: Chinese University Press, 1993. Print. Read More

It is important to note, the above five styles were achieved by emulating the styles of ancient masters; the later writers overtime made additions to the writings to come up with other styles. Over the years, calligraphers have enjoyed the autonomy to use any of the above script styles, depending on the purpose they would want to achieve or text function. Perhaps, you may wonder what materials and tools were used and how were they used to develop these texts. The subsequent discussion of this essay will get your questions answered.

Materials and tools The paper, ink, ink brush, and inkstone were the primary requirements in accomplishing the Chinese calligraphy. In addition to the mentioned tools, desk pads, a water-dropper, and paperweights were the other materials that were used by the calligraphers. Brush The brush is the conventional writing tool in the Chinese calligraphy. The body of the brush commonly made from bamboo, while the head of the brush was made from hair strands or feathers. The calligraphy brushes are generally perceived as an extension of the calligrapher's arm.

In contemporary society, calligraphy may be achieved by use of pens; however use of pens for calligraphy seems to enjoy little prestige when compared to the traditional brush for calligraphy. Paper Unique types of paper are used in the Chinese calligraphy. For instance; in China traditional paper manufactured in Anhui province, is the preferred paper type in calligraphy. It is made from the Tatar wingceltis and other materials such as rice, the paper mulberry, hemp and bamboo. Paperweights During writing, paperweights are used to press down and have a grip of the paper.

A paperweight is put on top of the large pages as a support to prevent them from slipping while writing. There are various types of paperweights; they include oblong wooden blocks carved with calligraphic or pictorial designs; small sculptures of animals or people. It is important to note that paperweights on their right are collectible works. Desk pads The desk pads are made of felt. Desk pads are in print with grids and are placed under the translucent paper to ensure appropriate placement and size of characters.

Ink and Inkstick The ink used in graphic writing, is manufactured from lampblack and binders, which is then put in ink sticks which are rubbed with water on an inkstone till the correct consistency is achieved. As easy as it may sound, learning how to rub the ink was a very important part in the study of calligraphy. Traditionally, only black ink was used in the Chinese calligraphy; however modern calligraphers use various colors. For instance, Calligraphy teachers prefer the use of red ink or bright orange ink in correcting student work or writing practice characters on which students trace.

Inkstone The role of inkstones is to grind the solid inkstick into liquid ink and as well as to contain the ink once it is liquid. Chinese inkstones tend to be highly appreciated therefore are highly prized art objects and a far-reaching bibliography is devoted to their history. Seal and Seal paste Works of Calligraphy are never complete till the calligrapher puts his seal at the end by use of red ink; such seals are as good as a signature. Technique: principles The size, shape, type and stretch of hair in the brush, the density and color of the ink, the paper service texture as well as absorptive speed are the primary physical parameters that will influence the final result.

The calligrapher will determine the final result by the quantity of ink/water he allows the brush take up, the pressure applied, inclination of the brush, as well as the direction he gives to the brush, producing bolder or thinner strokes, as well as toothed or smooth borders. Finally, the speed, deceleration and acceleration of the writer's moves, crochets and turns, and the stroke order to the characters influences very much their final shape (Yee, 1954). Significance of Chinese culture Calligraphy as an art of writing is a visual art form that is a highly regarded among the Chinese.

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