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

CHINESE CALLIGRAPHY

to the presence of a single ‘ dead’ stroke. Now, the power to imbue strokes with life is acquired from training in calligraphy, in the manner described in Chapter VIII. ‘ Writing’ lines are used very extensively in Chinese paintings, which indeed are built up of them. Even solid objects usually have their contours outlined, and the merit of a picture is largely estimated by the excellence with which these structural lines are formed and placed. They seldom run continuously round the object. Except in delicate or elaborate work we prefer to use a few simple and carefully selected strokes to convey the essentials of the form. A ‘ dead’ stroke among these few is very apparent and causes visual discomfort to the onlooker.

You have probably noticed how partial the Chinese are to flower paintings. Orchids, chrysanthemums, the blossoms of winter plums and cherry trees are perpetually recurring subjectmatter. Iam convinced that one of the reasons for this is that the stems, leaves, branches, and petals of these natural growths lend themselves so well to calligraphic brush treatment—that treatment in which is embodied the ‘rhythmic life’ that is the essence of a painting, whether it is in colour or in monochrome. SCULPTURE AND CALLIGRAPHY

The similarity here is not nearly so immediately apparent as that between painting and calligraphy, but it is none the less present. In my opinion the somewhat extreme simplicity of our carved, engraved, modelled, or cast forms derived in the _ first instance a good part of their inspiration from calligraphy. I do not mean that our craftsmen and sculptors had definite calligraphic models in mind when they worked, but that their

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