Chinese Calligraphy - Literature review Example

Chinese Calligraphy Name Course Name and Code Instructor’s Name Date Art revolves around mankind and there are different forms of art across the world with each culture favouring specific style and form. In European countries, paintings are appreciated while in East Asia, calligraphy form of art is favoured. Even though the forms of art are similar, there are unique characteristics associated with them. An example of a unique art is the Chinese calligraphy, which has played an important role in the society and culture of Chinese society. Arts and decoration has a long history and Chinese calligraphy is one of the indigenous art concepts. Calligraphy has been continuously been appreciated across the world and by different cultures but the Chinese calligraphy is unmatched (Khoo and Penrose, 1999). The Chinese calligraphy has a long history and it is not just considered as a decorative art rather it is viewed as supreme visual art and it is valued than sculpture and painting, and it is at the same level with poetry as a means of cultivation and self-expression (Long, 2001). Chinese calligraphy is based on how one wrote and what was written. To understand the Chinese calligraphy and the importance of the art, it is important to bring into consideration numerous factors such as materials and the esteem in which the literacy and writing are viewed in traditional Chinese culture (Fazzioli, 2005). The history of Chinese calligraphy can be traced to the Shang dynasty (ca. 1600 – ca. 1100 B.C.) whereby Chinese writing was in scripted on oracle bones; the turtle shells and animal bones and other writings were on bronze vessels (Khoo and Penrose, 1999). The Shang kings utilized these objects and ornaments in divination rituals while some scholars associated the writings with political authority and ritual that usually were accorded to individuals who could write and read (Long, 2001). A sharp pointed instrument was utilised to make inscriptions on the surface of a bronze mould or on an oracle bone (Driscoll and Toda, 2011). Due to this traditional characterisation, the writings lacked the linear variation and other factors that are attributed to the prerequisites of a ‘true’ calligraphy. However, the qualities of true calligraphy started to emerge during the Han dynasty (around 206 BCE to 220 CE) (Khoo and Penrose, 1999). This is the period in which the Chinese artisans were able to perfect the production of basic tools that are still been utilised in calligraphy today: inkstone, paper, ink and brush. Even though archaeological evidence indicates that the brushes were utilised prior to the Han period, it was during the time of Han’s dynasty were the brushes became prominent and widespread (Khoo and Penrose, 1999). A brush consisted of a animal hairs from animals such as white goat hair, black rabbit hair, and yellow easel hair in which the hair was pushed into a wood or bamboo tube e.g. through porcelain or jade (Fazzioli, 2005). The hairs pushed into the wood or bamboo tubes were not of the same let but the outer core was longer compared to the shorter inner core (Long, 2001). This strategy makes the brush to have a taper point. These brushes usually come in different variety of sizes and shapes that determines the production line of the brushes (Driscoll and Toda, 2011). However, what is common to these brushes is its flexibility in its utilisation (Barrass, 2002). The flexibility of the brush makes the calligraphic line to be so expressive and fluid. The ink that is utilised in calligraphy is obtained from lampblack, which is a sooty residue created through burning oil underneath a hood or pine resin (Wang, 2008). After the collection of the lampblack, the lampblack is then mixed with glue which is then pressed into moulds (Khoo and Penrose, 1999). This would result in hardened sticks or cakes that are ground against a stone and the content is mixed with water; a process which is controlled by a calligrapher who is responsible to determine the density and or thickness of the pigment (Long, 2001). Therefore, the ink sticks and ink cakes became a form of decorative art in which different calligraphers developed their own patterns and designs (Driscoll and Toda, 2011). Apart from the ink, another important invention that has played a major role in calligraphy is the invention of paper. The discovery of paper is attributed to Cai Lun in 105 C.E. even though archaeological evidence indicates that the paper was found some years before Cai. Paper was created from a variety of fibres such as bamboo, hemp and mulberry and resulted in a based in which painting and calligraphy can be done (Khoo and Penrose, 1999). The benefit of paper to silk which was commonly utilised was the cost associated since silk is/was more expensive compared to paper (Driscoll and Toda, 2011). These four components are termed as the Four Treasures in which it indicates the high esteem the calligraphy materials are held. These Four Treasures that are utilised by the calligraphers are also utilised by Chinese traditional painters (Khoo and Penrose, 1999). This factor and other components that are associated with calligraphy have made Chinese calligraphy to be held in higher status within China compared to other countries (Long, 2001). The relationship between calligraphy and painting in China is not comparable to other parts of the world because the materials and tools used in painting are not the same tools utilised in calligraphy (Wang, 2008). Therefore, according to Chinese culture, calligraphy is comparable to painting. To understand appreciation on calligraphy, it is imperative to analyse the features that were championed when calligraphy started and become a form of art rather than mere writing; this brings into consideration when specimens of handwriting began to be treated, collected and valued as art (Khoo and Penrose, 1999). The influence of calligraphy is exhibited by Emperor Ming of the Han dynasty whereby he ordered one of his messengers to request his dying cousin to write a message before he passed on (Kexi, 2010). The aim of the writing was to provide a means of “communion” with his cousin after his death and this trace can only be preserved by his calligraphy (Long, 2001). This illustrates why calligraphy was held with high esteem and also because of the self expression powers and medium of revelation (Driscoll and Toda, 2011). Mastering of calligraphic technique is intrinsic in nature because it is able to be expressive (Wang, 2008). The Chinese script has numerous individual graphs in which it brings invariable strokes that are executed in a set order. One of the uniqueness of Chinese calligraphy is the ability of the viewer to mentally trace the steps that the work was made (Khoo and Penrose, 1999). Moreover, a viewer might especially determine the execution method in that whether it was done slowly or swiftly, or whether the brush was placed onto the paper with great force or delicacy and other factors that a calligrapher incorporates into forming calligraphy (Wang, 2008). The ability in which a viewer is able to retrace the calligrapher workings generates a sense of communing or interacting with the calligrapher (Long, 2001). Through understandings of completed calligraphy, it is easier for an individual to appreciate and perceive achievements of great calligrapher (Fazzioli, 2005). History of Chinese Calligraphy The Chinese calligraphy can be viewed as supreme among the China’s visual art and usually determines how Chinese painting is judged (Wang, 2008). Chinese calligraphy has contributed and improved the fields of visual arts across East Asia resulting in other forms of art that include inkstones, ornate paperweights and seal carving (Driscoll and Toda, 2011). This illustrates the influence of Chinese calligraphy to its neighbours and defines the contribution of dynasties towards development of calligraphy (Khoo and Penrose, 1999). In the history of Chinese calligraphy, the Qin dynasty and Han dynasty played an important role is setting the foundation of calligraphy. Many historical Chinese engraves and brushed arts that might be termed as “large seal” and “ancient writing” were brought together to form a standardised product known as the “small seal” (Fazzioli, 2005). In the same time, the process of adapting seal script and abbreviation into forming a new one termed as “clerical” was also finalised resulting in a universal script that was embraced by the Han dynasty (Long, 2001). In this trend of brevity in writing and abbreviation, the clerical scripted evolved resulting to the formation of “standard”, “cursive” and “running” scripts. These chances were not instantaneous and it took many years and numerous transitional styles resulting in the establishment of brush characters and strokes (Driscoll and Toda, 2011). In the history of Chinese calligraphy, Tang dynasty and Sui dynasty was also an important period. The unification of the dynasties, especially south and north, resulted in bringing together the numerous brush methods creating a complete (Khoo and Penrose, 1999). After the unification, standard script started becoming the universal form of brush methods. Some of the most famous calligraphers at this period include Liu Gongquan and Yan Zhenging (Wang, 2008). During the Song dynasty, engraving of model book copies became a norm to ensure preservation of the ancient masters’ works (Fazzioli, 2005). Some of the important scholar artists during the Song dynasty included Mi Fu and Su Shi who were unsatisfied with following tradition since they believed that calligraphy was an important component of personal and creative expression (Long, 2001). During the Yuan dynasty, revivalist calligraphers such as Zhao Mengfu employed and championed revivalism in which he considered the classical traditions of Tang and Jin dynasties (Driscoll and Toda, 2011). During the period of Ming dynasty, the artistic freedom and liberal rules gained momentum and became an imperative aspect of calligraphy arts (Khoo and Penrose, 1999). Some of the manners employed during this period include the conservative manners and semi-cursive script in which both of them contrasted immensely. In this period, calligraphers dictated their directions and paths and were not affect by mainstream calligraphers (Wang, 2008). Some of the most calligraphers during this period included Huang Daozhou, Zhang Ruitu, Zhu Yunming and Wen Zhenming. Another important period for the calligraphy was during the Qing dynasty whereby the scholars and artist reverted to the inspiration associated to ancient resources and works in which it utilised clerical and seal script (Wang, 2008). These numerous scholars and artists brought together their skills and techniques, resulting in utilisation of steles that played a major role in completion of the Modelbook School (Long, 2001). This means that the stele school created a link between the present and past approaches whereby the clerical and seal script became the origins of Chinese calligraphy innovation (Driscoll and Toda, 2011). Some of the famous calligraphers within this period include Zhao Zhigian and Deng Shiru (Fazzioli, 2005). The Chinese calligraphy is viewed as an oriental tradition that is rooted in centuries of practice. Chinese calligraphy is turning Chinese characteristics into a form of art into expressing images achieved through varying the pressure and speed with a Chinese pointed brush. It is easy to produce numerous forms and styles of images through varying the adsorptive and the thickness of the paper, control of ink concentration and flexibility of the brush. This is immensely different when compared to western calligraphy in that the natural expression is associated with dry brush strokes and diffusion ink blots resulting when compared to the Chinese approach. To the calligrapher, the act of calligraphy is based on mental coordination of the mind and the body to determine the most stylish method in presentation of passage content. Moreover, the development of Chinese calligrapher is based on thousands of years and also calligraphers who utilised different approaches and principles towards ensuring the most effective art is achieved. References Barrass, G. 2002. The art of calligraphy in modern China. California: University of California Press Driscoll, L., and Toda, K. 2011. Chinese Calligraphy. London: Kessinger Publishing Fazzioli, E. 2005. Chinese Calligraphy: From Pictograph to Ideogram: The History of 214 Essential Chinese/Japanese Characters. New York: Abbeville Press Kexi, Z. 2010. Chinese Calligraphy. Shanghai: Shanghai Press Khoo, S., and Penrose, N. 1999. Behind the Brushstrokes: Appreciating Chinese Calligraphy. Jakarta: Asia 2000 Limited Long, J. 2001. The art of Chinese calligraphy. London: Courier Dover Publications Wang, Y. 2008. Chinese calligraphy. New York: Yale University Press Read More

Even though archaeological evidence indicates that the brushes were utilised prior to the Han period, it was during the time of Han’s dynasty were the brushes became prominent and widespread (Khoo and Penrose, 1999). A brush consisted of a animal hairs from animals such as white goat hair, black rabbit hair, and yellow easel hair in which the hair was pushed into a wood or bamboo tube e.g. through porcelain or jade (Fazzioli, 2005). The hairs pushed into the wood or bamboo tubes were not of the same let but the outer core was longer compared to the shorter inner core (Long, 2001).

This strategy makes the brush to have a taper point. These brushes usually come in different variety of sizes and shapes that determines the production line of the brushes (Driscoll and Toda, 2011). However, what is common to these brushes is its flexibility in its utilisation (Barrass, 2002). The flexibility of the brush makes the calligraphic line to be so expressive and fluid. The ink that is utilised in calligraphy is obtained from lampblack, which is a sooty residue created through burning oil underneath a hood or pine resin (Wang, 2008).

After the collection of the lampblack, the lampblack is then mixed with glue which is then pressed into moulds (Khoo and Penrose, 1999). This would result in hardened sticks or cakes that are ground against a stone and the content is mixed with water; a process which is controlled by a calligrapher who is responsible to determine the density and or thickness of the pigment (Long, 2001). Therefore, the ink sticks and ink cakes became a form of decorative art in which different calligraphers developed their own patterns and designs (Driscoll and Toda, 2011).

Apart from the ink, another important invention that has played a major role in calligraphy is the invention of paper. The discovery of paper is attributed to Cai Lun in 105 C.E. even though archaeological evidence indicates that the paper was found some years before Cai. Paper was created from a variety of fibres such as bamboo, hemp and mulberry and resulted in a based in which painting and calligraphy can be done (Khoo and Penrose, 1999). The benefit of paper to silk which was commonly utilised was the cost associated since silk is/was more expensive compared to paper (Driscoll and Toda, 2011).

These four components are termed as the Four Treasures in which it indicates the high esteem the calligraphy materials are held. These Four Treasures that are utilised by the calligraphers are also utilised by Chinese traditional painters (Khoo and Penrose, 1999). This factor and other components that are associated with calligraphy have made Chinese calligraphy to be held in higher status within China compared to other countries (Long, 2001). The relationship between calligraphy and painting in China is not comparable to other parts of the world because the materials and tools used in painting are not the same tools utilised in calligraphy (Wang, 2008).

Therefore, according to Chinese culture, calligraphy is comparable to painting. To understand appreciation on calligraphy, it is imperative to analyse the features that were championed when calligraphy started and become a form of art rather than mere writing; this brings into consideration when specimens of handwriting began to be treated, collected and valued as art (Khoo and Penrose, 1999). The influence of calligraphy is exhibited by Emperor Ming of the Han dynasty whereby he ordered one of his messengers to request his dying cousin to write a message before he passed on (Kexi, 2010).

The aim of the writing was to provide a means of “communion” with his cousin after his death and this trace can only be preserved by his calligraphy (Long, 2001). This illustrates why calligraphy was held with high esteem and also because of the self expression powers and medium of revelation (Driscoll and Toda, 2011). Mastering of calligraphic technique is intrinsic in nature because it is able to be expressive (Wang, 2008).

Read More