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The choice of paper plays a critical role in the outcome of Running Script (行书) calligraphy. Different papers, with their unique textures, absorbency levels, and colors, offer different possibilities for ink expression, which can enhance or detract from the artist’s vision. The paper is a vital element of the calligraphic process itself. Rice paper, or Xuanzhi (宣纸), is the traditional choice for Chinese calligraphy. It is known for its ability to absorb ink, which allows for expressive brushwork and subtle variations in line quality. The texture of the rice paper itself is often a key element in the final presentation of the work. Other types of paper, such as mulberry paper or bamboo paper, offer different textures and absorbency levels, resulting in a variety of visual effects. These different types of paper can be used for unique artistic effects and to express different themes. The calligrapher is not limited to only one material. The color of the paper also plays a role in the overall composition. While traditional works are typically on white paper, different colored papers can create a more dramatic effect. The color of the paper can often highlight or contrast different elements of the written work. The color of the paper becomes another part of the composition. The choice of paper is a very personal one, often depending on the calligrapher's style and the specific work they are creating. The materials should be seen as an extension of the artist and their own unique style. Understanding how different materials react is an important part of developing mastery over the art form. |
Tag : Calligraphy Paper, Running Script Materials, Xuanzhi Paper, Chinese Paper, Calligraphy Supplies
This article presents iconic examples of Running Script calligraphy, including Wang Xizhi's "Preface to the Orchid Pavilion Gathering," Yan Zhenqing's "Draft of a Requiem to My Nephew," and Su Shi’s works, to showcase the depth and range of the script.
In the vast landscape of Chinese calligraphy, certain works transcend mere artistic skill, resonating with profound human emotion. One such piece is Yan Zhenqing’s Ji Zhi Wen Gao (祭侄文稿), often translated as Draft of a Requiem to My Nephew or Draft of a Memorial to My Nephew. This intensely personal and emotionally charged work is not just a masterpiece of calligraphy but also a poignant testament to grief, loyalty, and the ravages of war.
This article emphasizes the crucial role of "white space" (空白) in Running Script, explaining how it contributes to balance, harmony, rhythm, and visual depth, and how the calligrapher should actively use it within their works.
This article explores the use of calligraphy as a form of emotional release, highlighting how the practice allows calligraphers to channel their feelings into the strokes of their brush, providing a form of self-expression and inner healing.
This article discusses the importance of calligraphy scrolls in displaying Running Script, highlighting how the scroll’s vertical format, material, and design enhance the artwork’s visual impact and facilitate both appreciation and preservation.