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The grip that a calligrapher uses when holding the brush plays a crucial role in the flow, control, and expressive quality of their Running Script (行书) work. A proper grip allows the calligrapher to guide the brush with precision and intention, creating a link between the mind and the expression of the art form. The grip itself becomes a connection between the body and the artistic expression. The traditional Chinese grip often involves holding the brush vertically, with the wrist and arm moving freely to create the strokes. The goal is to allow the movement to flow naturally from the body into the brush and then to the paper. The movement should be fluid and effortless. The grip should not be too tight, as this can hinder the brush's movement and lead to tense and inflexible lines. The grip should be firm but relaxed, allowing for the subtle variations in pressure that are needed to produce high quality line work. The grip should allow for maximum flexibility and control. The grip should also be appropriate for the size and type of brush being used. The calligrapher must adapt their grip for different types of brushes and the demands of different artistic works. There should be adaptability in the practice of calligraphy. Finding the right grip is an important step in mastering Running Script, allowing the calligrapher to better control their brush and achieve their artistic goals. The correct grip will help the artist to perform at their best, and it is often the foundation for developing the rest of the skills. |
Tag : Calligraphy Grip, Brush Holding, Running Script Technique, Chinese Calligraphy, Calligraphy Basics
While learning the techniques and principles of xingshu through copying masters is crucial, the ultimate goal for a calligrapher is to develop their own unique voice and personal style. This essay will explore the journey from learning traditional techniques to finding individual expression within the constraints of the script. It will begin by acknowledging the importance of “临摹” (linmo), the practice of copying traditional models, as the foundation for learning xingshu. It emphasizes that copying is not just about replicating, but a way to deeply understand the techniques and styles of the masters. This essential foundation is necessary for any serious calligrapher.
This article explores the influence of Running Script on other Chinese art forms like painting, seal carving, and even architecture, showcasing its far-reaching impact on Chinese artistic expression.
This article explores the use of Running Script in public art installations, highlighting how it transforms public spaces, creates new forms of engagement, and helps preserve and promote traditional calligraphy.
"Cold Food Observance," or Han Shi Tie, by Su Shi (苏轼), is a celebrated example of Running Script (xingshu) from the Song Dynasty. It's not just a simple piece of calligraphy; it is an emotional outpouring that was created in a period of difficulty and exile for Su Shi. The work captures a range of emotions, including grief, frustration, and a longing for home. Its masterful use of brushstrokes and its profound emotional depth have made it one of the most cherished works in the history of Chinese calligraphy.
"A Letter to my Nephew," or Ji Zhi Wen Gao, by Yan Zhenqing (颜真卿), is a unique piece of calligraphy in that it was not intended to be an artistic masterpiece. Rather, it is a draft of a letter expressing his grief and sorrow at the loss of his nephew. However, this raw and unfiltered expression of emotion is what makes the work so powerful and enduring. Written in a mix of Running Script (xingshu) and Cursive Script (caoshu), Ji Zhi Wen Gao reveals the artist's inner turmoil and his capacity for emotional expression. It is a unique, personal, and emotional piece.