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

CHINESE CALLIGRAPHY

‘approach’ asymmetry. ‘The examples in Figs. 108 to 112 will clarify the implications of the terms.

The character P‘o is a com-

RA bination of Pi and Yeh. Pi alone

is generally finished with a long

sweeping stroke to the right, but

(see. (ckin (ae) when combined with Yeh this

os becomes a ‘long’ dot in order to

avoid cramping Yeh or displacing it.

The character Su is a combination of Kéng and Shéng. A

very ugly effect would be created by making the two parts of

equal size and placing them side by

By 更 AE side: so the lower, sweeping stroke

of Kéng is lengthened to enfold Shéng,

Kéng Shéng Which is proportionately reduced in

eeio ae ss (bom) size. This practice we call ‘ making ad the parts approach each other ’.

The character Chiu (meaning ‘a turtle dove’) is a combination of Chiu (meaning ‘ nine’)

He, N, and Niao (meaning ‘bird’). To “ wsx~w》 avoid an awkward gap between the

Chiu Chiu Niao parts, Chiu (‘nine’) is reduced in ie doy . . . (turtle dove) (nine) (bird) Size, and shorn of its ‘ dragon-tail FIG. IIO 5 hook’.

The character Hsii is a combination of C/iu (‘ nine’) and Fh (‘sun’). This time the Ha It 8 ‘dragon-tail’ hook of Chim is lengthened to enclose the smaller

Asti Chiu Fih 2

(dawn) (nine) (sun) . FIG. III The characters Feng and Tsou

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