Articles - Calligraphy Art in China
What is Calligraphy?
First seen in Chinese art, calligraphy is the fine art of stylized writing (viz. the art of converting Chinese symbols into expressive images using responsive rice paper and the pressure of a tapered brush), which verges on a form of drawing. It requires the correct formation of characters, the ordering of the various parts, and general harmony of proportions.
Calligraphy requires decades of dedicated study to achieve mastery. For example, an aspiring student will practice inscribing the Chinese "yong" character hundreds (if not thousands) of times in order to produce the eight essential strokes which together make up the character.
The two great forms of calligraphy derive from the Arabic and Oriental languages (Chinese, Japanese, Vietnamese and Korean), although it has been regularly practised in the languages of India, Tibet, Persia, Latin and others.
Highest Form of Chinese Art
Ever since it was first practised in China, around 1700 BCE, calligraphy has been a rich and varied source of artistic expression. For centuries it has been regarded as the highest form of Chinese painting, and shares many features of Chinese wash-painting, which is performed using similar implements and materials. In addition, it has influenced many oriental art styles, such as "sumi-e", a type of Chinese and Japanese art (painting) based entirely on calligraphy.
See also: Prehistoric Art Timeline.
The Five Types of Calligraphic Scripts
- There are five basic styles of calligraphic writing:
- Seal (Chinese: Zhuan-shu. Japanese: tensho)
- Clerical (Chinese: Li-shu. Japanese: reisho)
- Cursive (Chinese: Cao-shu. Japanese: sosho)
- Semi-Cursive (Chinese: Xing-shu. Japanese: gyosho)
- Regular (Chinese: Kai-shu. Japanese: kaisho)
History of Calligraphy
Early Writing
Chinese calligraphy passed through several early stages before the present-day script - known as Kai-shu - emerged. These stages involved the scripts known as: Jigwen (chia-ku-wen), Jinwen (chin-wen), Dazhuan (hsiao chuan) and Li-shu (li-shu) scripts. The Jigwen and Jinwen scripts were used by Chinese calligraphers until 220 BCE, when the Emperor Qin Shi Huang ordered the development of a new unified script known as Dazhuan. This was soon followed by a new clerical script called Li-shu, and ultimately by Kai-shu, the present-day regular script, which has been in existence now for almost 2000 years.
Calligraphic Materials
The primary tools on a calligrapher's desk are: paper, ink, brush, and inkstone, known collectively as the Four Treasures of the Study.
Paper
Chinese calligraphers traditionally employ Xuanzhi paper, made from the Tartar wingceltis, as well as other materials including rice, bamboo, hemp, to name but a few materials used. Paper must be of high quality with a consistent rate of absorption to facilitate straight lines. Instead of paper, parchment or vellum may be used, which allows the artist to make corrections with a knife.
Ink and Inkstone
The best forms are produced from soot, in the form of inksticks which must be rubbed with water on an inkstone to achieve the correct consistency, although cheaper varieties of bottled ink are now available. Traditional calligraphy is practised exclusively with black ink, but modern exponents also employ colour. It is traditionally water-based rather than oil-based.
Brush
The traditional writing implement in Chinese calligraphy is the brush - whose stem is typically made from bamboo, or sometimes red sandalwood. The brush hair can be taken from any one of a number of different animals, including wolf, rabbit, goat, deer or even tiger, to name but a few. Modern calligraphers also use a pen (either flat or round-nibbed) and a brush. Where extra decoration is required, multi-nibbed pens may be used.
Other Tools
Other essential items for a working calligrapher include: a variety of paperweights (to minimize slippage); a desk pad ( to ensure correct positioning of the paper); and a light-box (to assist the creation of straight lines).
Japanese Calligraphy is based upon Chinese calligraphy, but has a long and distinct history and style of its own.
History of Japanese calligraphy (日本書道史) have been heavily influenced by Chinese calligraphy. For a long time, most esteemed calligrapher in Japan had been Wang Xizhi, Chinese calligrapher in 4th century. After the invention of Kana and Katakana, Japanese unique syllables, calligraphers developed intrinsic styles to Japan.
Japanese Calligraphy - Before Nara period
The oldest existing calligraphic text in Japan is the inscription on the halo of the Bhaisajyaguru statue in Hōryū-ji Temple. This Chinese test was written in Shakeitai (写経体) style, famed in Six Dynasties. There are also bibliographic notes for the Lotus Sutra in same temple. This Hokkegisho (法華義疏) have been said to be written by prince Shōtoku in 615, but some scholars criticised this assertion.
Broken Stone in Uji Bridge(宇治橋断碑) and Stone in Nasu County (那須国造碑) are also typical examples in this time. Both of inscription were influenced by Northern Wei robust style.
In 7th century Tang Dynasty established hegemony in China. Their second Emperor Taizong esteemed Wang Xizhi's calligraphic text and this popularity influenced Japanese calligraphers. All of the original texts written by Wang Xizhi did lost, and some copies such as Gakkiron written by the Empress Komyo regard ed as important sources to know Wang Xizhi's style.
Soukou Shujitsu is the first text which shows Japanese unique calligraphic style. This Tanka text was written in 749 and shows some difference from Chinese calligraphy.
Japanese Calligraphy - Heian period
Emperor Kammu moved the capital from Heijō-kyō in Nara, first to Nagaoka-kyō in 784, and then to Heian-kyō, Kyoto in 794. This marks the beginning of the Heian era. Chinese influences in calligraphy was not changed in the early period. For example, under the Emperor Saga's reign royalty, the aristocracy and even court ladies studied copying Chinese poetry texts in artistic style.
Wang Xizhi's influences remained dominant, which are shown in calligraphies written by Kukai or Saichō. Some other Chinese calligraphers, such as Ouyang Xun and Yan Zhenqing were also became highly evaluated. Most notable admirers for each one were Emperor Saga and Tachibana no Hayanari.
At the same time Japanese unique calligraphic style was emerging. Kukai said to Emperor Saga "China is large country and Japan is relatively mall, so I suggest to write in the different way.". Cry for noble Saichō (哭最澄上人), which was written by Emperor Saga for Saichō's death, was one of the example for such a transformation.
Modern Japanese Calligraphy
Calligraphy was adopted as one of the subject in elementary school of Japanese mandatory education system. In highschool, calligraphy is one of the alternative among art subjects, with music or painting. Some universities such as University of Tsukuba, Tokyo Gakugei University and Fukuoka Kyoiku University have the branch of calligraphic study and emphasize teacher-training programs with calligraphy.
(Article based on Wikipedia article and used under the GNU Free Documentation License)
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