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

COMPOSITION

nevertheless to be joined by some of those in visible muscles I described at the end of the previous chapter. In these characters the order in which the strokes and dots are written governs their direction and effects the implied connexion between them. Hsiao and Ch‘uan exemplify the J-Lien principle particularly clearly.

(10) Chieh-Huan (ff #&), Exchange. This principle, unlike those described so far, is not for general use. The sanction of precedent—the precedent of some great scholar or calligrapher —is almost obligatory. It consists of the transposition of elements in a character for aesthetic reasons; and such a practice can obviously only be followed with caution and great skill if confusion is to be avoided.

Examples of the successful implementation of the principle are Su, Chiu, and E. Suis generally written, as in Fig. 130, A,

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(a) 6) © ©) Su Chiu (to revive) (autumn)

FIG. 130

with the a sign on the left, but the difficulty of arranging the ee

right-hand side, with its rather short horizontal strokes and long sweeping rightward stroke, makes this composition awkward. So the two sides are transposed and, necessarily, the sweeping rightward stroke curtailed (Fig. 130,B). The same applies to Chiu, which is commonly written as in Fig. 130, c, with the right-hand side containing fewer strokes than the left and the character tending to sprawl. If the two sides are transposed, the long rightward-sweeping stroke of symbol # abbreviated, [ 181 ]