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

COMPOSITION

tracted. JT ‘ung, however, is an exception, the outer vertical strokes being parallel. In rightward-wrapping characters like Kuang and Kuei strength is achieved by means of the Tun movement described in Chapter V (page 145).. In leftwardwrapping characters a slight curving movement to the left of the embracing stroke supplies the necessary support and strength. The fourteen principles of composition I have described provide an adequate foundation for those who wish to be able to discriminate good characters from bad. Serious students should consult two important books, Li Shun’s ‘ Ta-TzdChieh-Kou-Pa-Shih-Szu-Fa’ (K ¥ #8 # /\ + i) and Huang Tzu-Yitian’s (# A 30) ‘ Ling-Chiu-Shih-Erh-Fa’ (8% ju + = i&), both of which can be obtained of any Chinese bookstore. Here I will only add a few characters not directly covered by the fourteen principles, but which exemplify simple and evident modifications in the interests of pattern. Tso and Tsai in Fig. 137 have notably short horizontal strokes, and the leftward-

sweeping strokes are there-

fore elongated. Yu and a Yu have proportionately

longer vertical strokes, so

the sweeping stroke is (let ao (to ey (cick) shortened. Characters oN 朱 和 8

like Mu and Chu, contain- ~

ing a short horizontal ‘y”

: Mu Chu Lé Chu stroke, a long vertical one, — @ood) (red) (happi- (to build) and sweeping strokes to Bess) right and left, are given breadth (and saved from a lean appearance) by spreading the

curved strokes. If, on the other hand, the horizontal stroke of [ 185 ]

FIG. 137