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

CHINESE CALLIGRAPHY

into the upper two-thirds of the ninefold square, and the right

RR A vB)

Tung Chi (rain- (to a read) bow) spin) discuss) FIG. 122

are composed to give prominence

Be Mit oe AF

(to ey eh alee) en (builtanes) FIG. 123

the relative widths of the parts. Fig.

BR BR ET oR

Chin (antes) to offer) (a ah) (reverent)

FIG. 124

side pulled down into the lower two-thirds. Thus, dominance is given to the left-hand part of the character. Conversely, the characters Tu, Tung, Chi, and I in Fig. 122 to the right-hand part, the left-hand part being reduced in each case to about two-thirds its normal size. In the eight characters in Figs. 123 and 124, the Hstang-Fang principle operates upon 123 shows four characters in which only one-third of the total width is occupied by the left-hand part; Fig. 124 four in which only one-third is occupied by the right-

hand part. In both sets of characters the length of the two

Bf ER

Féng Chiin (to 人 (to Bh ale) (a lofty (steeply) peak). FIG. 125

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parts is approximately the same. These eight characters also illustrate another aspect of HszangFang: that which takes account of the relative