Chinese Brushwork in Calligraphy and Painting - Essay Example

World Literature For around four thousand years, calligraphy and painting remained part of China. Incision of ancient calligraphy writing was on hard objects such as bones, shell and pottery. The main reason that was behind the use of these materials included that these writings were more enduring in comparison with those written using ink on paper. Calligraphy describes all forms of writing but gives no distinctions between script written with pen stylus or brush. The term calligraphy, in an approving way, illustrates the Chinese use of line of painting (Fazzioli, 1986, p. 26). Brushwork can be described as an indispensable characteristic of Chinese painting. Brushwork and ink provide the basis for Chinese pictures even with employment of color. Chinese art Cognoscenti recognize the character of a line the moment they cite a painting. Chinese writing and painting developed simultaneously sharing the same techniques and tools. Some types of brushes able to create rhythmically diminishing and swelling lines developed between 4500 and 2000 BC embellished linear patterns on pottery jars (Kwo, 1990, p. 48). Block-like symbols characterize Chinese writing. These bock-like symbols stand for ideas. These symbols are referred to as the characters which evolved from pictograms. The ancient painters and calligraphers regularized the symbols where they designed each one the symbols to conform to an imaginary square, whether composed of one or 64 strokes (Kwo, 1990, p. 56). The ancient Chinese calligraphers and painters drew the strokes in regard to a character in a certain order. Calligraphy developed swiftly yielding numerous classes of script. Regular and clerical scripts consist of short, detached strokes easily written with a brush (Kwo, 1990, p. 57).. As the delight of writing took charge, calligraphers devised more techniques, as well as the cursive and running scripts where the calligraphers joined character’s lines and dots they wrote independently in formal styles (Fazzioli, 1986, p. 35). The earliest form of Chinese writings was the oracle bones referred to as chia-ku-we. These writings were mainly used for sacred functions e.g. connecting with the gods. Chia-ku-we was an oracle-bone with inscriptions on tortoise shells and animal bones (Kwo, 1990, p. 61-63). Chuan-shu, a seal script, characterized the Second evolution of Chinese calligraphy. This form of writing emanated from oracle-bone script. The script was compatible other plans that calligraphers used previously (Kwo, 1990, p. 60). Another change was made to design an aspect that came up with clerical script, known as li shu. Calligraphers and painters wrote the design on silk and paper (Fazzioli, 1986, p. 67). This allowed additional fluid strokes. This is unlike previous cast of iron. The breakthrough of coming up with clerical script, which used brushes and ink marked the starting of calligraphy as a mode of expressing through art. The discovery of clerical script did not mark the end of calligraphy development, but it opened up chances for more improvements. Some of the later designed that improved the calligraphy writings include cursive script, standard script, and running a script (Kwo, 1990, p. 66). Cursive script started as a shorthand technique used in writing personal letters and notes inclusive of the writer and close friends. Invention of this script took place in the early second century B.C.E. Since cursive script allowed for more personalization, it became a channel for “individual expression that sometimes transcended the contents of the texts”. Creation of Kai-shu happened in efforts to improve the clerical script. It started from the Han Dynasty. Calligraphy gurus of Tang reign altered the previous script from the six reigns and created a “bold yet elegant standard-type script” (Nakata, 1982, p. 25) that balanced composition of character with brush movement. A simplified version and a freehand method of standard script were referred to as the running script (hsing-shu). Its progress employed standard script as a replica, and it matured than its forerunner. During the period of 960 to 1279, hsing-shu became immensely popular as it harmonized between the distinguished ability of standard script and the emancipative casualness of cursive script (Kwo, 1990, p. 72). Chinese painting is among the oldest incessant artistic traditions in the world. The ancient paintings were ornamental and not presentational. These paintings comprised only of designs and patterns. Pictures were not part of it. Traditional Chinese painting involves techniques similar to those of calligraphy (Kwo, 1990, p. 78).. The painting process involves the use of a brush dipped in colored or black paint. Traditional Chinese Calligraphy involves the use of paper and silk as the main materials. After the drawing, calligraphers and painters mounted the drawn materials on scrolls. Chinese traditional painting is done either in walls, sheets, folding screens, lacquer ware or any other media. Chinese calligraphy has remained part of the country’s history for four thousand years. Incision of calligraphic writings took place on shells, pottery and bones using sharp materials. There were inscriptions done on metals and stones. Painters and calligraphers chose stones and metals because they were more enduring than the paper materials written with ink (Kwo, 1990, p. 79). The Chinese regard the calligraphy and writing tools as the four treasures. The main materials used are brushes, papers, inks and ink stone. Each of these materials is peculiar to the techniques and evolution of painting and writing (Nakata, 1982, p. 44). A brush refers to an implement that has hairs or bristles firmly set into a handle, a bushy tail or part of a bushy tail. In Chinese traditional painting and calligraphy, brushes were made from animal fur. Deer’s, rabbits, weasels, and goats were the most preferred animals (Kwo, 1990, p. 82). These animals had higher preference because their furs were soft. Soft brushes are cheap and offer more possibilities in the disparities of strokes. Ta-kai Pi and Hsiao-kai Pi are the finest brushes used in the ancient Chinese traditional painting and calligraphy. Calligraphers and painters used Takai Pi brush in writing larger characters while they used Hsiao-Kai Pi brush in writing documents and letters (Kwo, 1990, p. 81). After use, calligraphers washed the brushes and exposed to the air to dry or twined in a bamboo mat. The brush makers made brushes in a memorable way that allowed them to come into a sharp contact for quality, wide strokes. These brushes can hold sufficient ink for numerous strokes to be made (Kwo, 1990, p. 82). In making the brushes, the brush makers first made a central core of stiffer hair and then bunched up a shroud of other shorter hairs and then another layer of longer hairs. The outer longer hairs were meant to come to a sharp point while the loop of the shorter hairs provided a harbor for the ink. According to this basic construction, many others, painters and calligraphers made different types of brushes over centuries. The line a painter yearns to produce determines the size of brush and textures and quantity of hair to use in making a brush. Painters and calligraphers used the long, pointed brushes for whirling movements while they used the short brushes to make blunt lines (Kwo, 1990, p. 83). Wall paintings characterized Chinese painting. Zong Bing, in 5th century wrote on the delights of having landscape paintings on the walls of his house which helped him imagine himself in the untrammeled and unlimited world of streams, trees, mountains and rocks. In the Tang Dynasty, in 906, Chinese calligraphers and painters tried and tested all methods of creating images to illustrate the world surrounding them. Early calligraphers and painters referred this art as ‘making boundaries’. They employed outlines to give movement, fullness and vitality to the figures. Gu Kazi and Wu Daozi are ancient painters who developed distinctive line styles. Wang we was the first painter to use ink in illustrating landscape (Kwo, 1990, p. 82-86). The Chinese are termed as zealous record keepers and required a frivolous material for writing. The ancient calligraphers carved commemorates in stones, bamboo strips or in bronze. These materials proved to be too heavy and expensive to use. Painters started to use papers between 618 – 906 years BC. After this, all scholars who painted preferred the use of paper as natural annexes of their work. Calligraphers and Painters first made paper from rags by calligraphers and painters. They employed the use of different kinds of vegetable fiber: tree bark; hemp, grain husk and grass (Kwo, 1990, p. 90-145). In brush work, paper can either be sized or not sized. In traditional Chinese paintings and calligraphy, calligraphers and painters used ink to draw on papers. There were two kinds of papers: mature paper and raw paper. Raw paper was remarkably soft and porous and can be compared to blotting paper. On the other hand, mature paper, unlike raw paper, is not porous. The mature paper consisted of alum that added to stop the porous texture of the paper (Kwo, 1990, p. 156-180). Addition of alum made the paper a little absorbent. Calligraphers and painters used alum in sizing the paper by coating one of the sides partially to seal pores. Sized paper had a high preference for use with the dry brush, solid line or complementary ink. In contrast, painters used wet ink in the unsized paper. Other, different types of papers that painters and calligraphers used include Chia Hsan, Yu Ban Hsuan and Chu-Chuei. Hsuan was the most common paper since it was absorbent and extremely porous (Nakata, 1982, p. 42-48). In addition to the paper, the painter required ink. Ancient calligraphers and painters made Ink from soot mixed with glue molded into hard sticks. The role of the finely ground soot was to provide color to the ink while the glue acted as an adhesive agent the bid the ink to the paper. Pine soot produced the most appropriate ink. Over years, ink compounders have tried to add other ingredients to ink to experiment on the kinds of inks that can be made (Fazzioli, 1986, p. 123-134). They added various compounds, such as ox horn marrow, powdered pearls, jade dust and pig’s gall. In 1279, an ink maker found out that a mixture of tung oil-lamp soot and pine soot produced an outstanding glossy, deep black ink (Kwo, 1990, p. 127). Most of the scholars tried to make their own ink in their homes, and sometimes it did not turn out so well. Su Dongpo in 1101 nearly burnt his house in his attempt to make his own ink. Ink recipes were treasures and the ink makers did not write them down for fear that someone else would take it. They only passed down the recipes to their apprentices. For this reason, most of the ink recipes got lost and could not be used to make other inks if effective since the calligraphers and painters did not write them down. The ancient Chinese painters used ink sticks in writing on the paper. The painters had to grind the stick with water on an impressive grained stone. This made the ink stone become one of the treasures of the scholar (Kwo, 1990, p. 166). Of importance were the colour, beauty and quality of the stone’s grain size. The painters carved the stones and cut to have a flat surface for grinding and a depression to seize the water and ground ink. These stones would sometimes be decoratively carved. Mesmerized by all facets of ink painting, scholars discussed the advantages of different inks and ink stones. They discussed the appropriate quantity of water to use when mixing ink and other related topics (Kwo, 1990, p. 176-220). Ancient Chinese calligraphers and painters employed the use of the eight stroke method. Painters and calligraphers widely used the character structure with eight strokes for practicing brush strokes of K’ai-shu. This method is attributed to the Ts’ui Yuan who made a diagram of it for Li-shu (Nakata, 1982, p. 134). Chinese brush work is termed as individual. In painting, the brush is held by the index, thumb and middle finger. In brush work, there are three fundamental principles that the painters and calligraphers adhered to, the moisture, and pressure and speed principle. Under the moisture principle, before dipping the brush into the ink for use, it had to be washed to retain some moisture (Kwo, 1990, p. 226). The degree of moisture determined the calligrapher’s effect on the paper. A too wet brush will bleed too much while a too dry brush will result to split brush effects and a contrite line. Pressure is another critical principle that painters employed in brush work. Pressure refers to the amount of force that artists and calligraphers exert on the paper. Though it is hard and difficult to master, it is an art by itself. The pressure exerted by the artist determines the line to develop. A high pressure exerted on a paper produced a thick line and may be hard for the brush to spring back to its original resilient strength. Less and considerable pressure on the paper produced a thin and desirable line (Fazzioli, 1986, p.156). The speed determines the texture of the line and how ink flows. In addition, it also determines whether the line is fragile or solid and creates a feeling of motion within a line. The ancient Chinese calligraphers and painters used a consistent and moderately fast, or lower speed to achieve a long line. A too fast speed resulted to a fuzzy and dry line while a too slow speed resulted to hesitation and too much bleeding on the paper (Kwo, 1990, p. 95). Though Aesthetics in China have not been an independent discipline, it can be traced back in 600 B.C. Confucius involved himself in elucidating and searching for philosophy of aesthetics. The aesthetic standards were rooted in the philosophical and cultural tenets of the Chinese people. In China, Taoism, Confucianism and Buddhism profoundly influenced its aesthetics (Kwo, 1990, p. 75-100). Lao Tze founded Taoism. He believed that the ambitions and desires of a man caused social unrest (Kwo, 1990, p. 73). The ancient Chinese painters and calligraphers had aesthetic standards that guided them in decorating their paintings and writings. Ch’i Yuen is one of the aesthetic standards that guided them. This term referred to “rhythmic vitality”, “spirit resonance”, “vibration of vitality” and “harmony with the spirit”. It, therefore, refers to the spiritual expression which comes from calligraphy or painting where there is harmony for its essential components. The Chinese believe “all creations of nature, though inanimate to the western mind, reveal inner vitality” (p. 74). Within everything natural, the Chinese believed that Ch’i was there. They also believed that everything that had ch’i had Yuen, an innate flowing vitality. The Chinese believed that there must be an atmospheric intermingling of all the elements involved. Yuen is the flavor or the concordant effect. Artist Hsieh Ho first used Ch'i Yien. He came up with the six fundamental strategies in achieving a strong art work. The six methods that he formulated are: ch’i Yuen sheng Tun; where sheng Tung meant lively movement, the second method was using the brush in bone maker, sketching form from nature, coloring according to various categories, composition and tracing or copying. These standards were unquestionable due to the powerful influence of sung artist-scholar kuo Juo-Hsu. He denoted “the authoritative statement of the six methods stands and last forever. However,the five methods are like the bone method, which can be learned; but, the first, however, is innate, and cannot be attained by effort, nor can it be acquired by time”. People blindly pursued every word that Kuo uttered till the 17th century when Tung Ch’i-Chang voiced the note of doubt (Kwo, 1990, p. 173). Chinese printing and calligraphy is an essential aspect in Chinese society. Because of its significance, it affects political and religious institutions in the society (Fazzioli, 1986, p. 123). China’s politics has for a long time banked on calligraphy and painting. Even with changes in dynasties and rulers, calligraphy has maintained its importance to the government, enabling laws and bureaucracy to exist. This is one of the elements that allowed the rulers to stay in power. In reference to Fazzioli (1986, p. 24), “calligraphy possesses the power of ideological control over the Chinese state”. Calligraphy has always put across power. China is a country that consists of diverse groups of people but a common writing system. In ancient China, the dynasties used different writing characters. The first emperor of Qin dynasty, Qin Shihuangdi, tried to amalgamate China into one government. He abolished all other forms of Chinese characters and standardized the written characters. Calligraphy also holds a vast weight for Chinese politicians. The handwriting of well-known political officials is renowned. This craft is known as public affairs calligraphy. Once the ancient Chinese leaders wrote anything, the people identified the handwriting without even a name on it (Nakata, 1982, p. 142). Ancient Chinese used oracle bones religiously to communicate to the heavens. The Chinese heated the oracle bones creating cracks which they interpreted with characters. These characters would be used as a means of communicating to the heavens. The individuals who were not able to understand writing associated literacy with spirituality. Calligraphy was connected to magic. They created distinctive furnaces for discarding of written paper. The people thought that ink had magic and would use it to treat several ailments. They also used calligraphy in repelling evil (Kwo, 1990, p. 48). There were several calligraphers who were influential in ancient China. These calligraphers include: Wang Xizhi, Ou Yangxun, Yan Zhenging, Huai Su, Luigongquan, Sushi, Huang Tingjian, Mi Fu, Zhao Mengfu and Dong Qichang. Wang Xizhi was a veritable calligrapher in the Eastern dynasty. He came up with Huangtingjing (regular script), Seventeen Tie and Tie Aunt. Yan Zhenqing was a prominent Chinese calligrapher from Tang Dynasty. He was renowned for Wuxing Set and Yan Liu (Nakata, 1982, p. 103-145). Ou Yangxun was a prominent calligrapher in Tang dynasty. Huai Su was another calligrapher in Tang dynasty. These ancient calligraphers and painters made a substantial contribution to Chinese calligraphy and painting (Nakata, 1982, p. 123). Works Cited Fazzioli, Edoardo. Chinese Calligraphy: From Pictograph to Ideogram: The History of 214 Essential Chinese/Japanese Characters. New York , N.Y. : Abbeville Press. 1986. Kwo, Da-Wei. Chinese Brushwork in Calligraphy and Painting: Its History, Aesthetics . and Techniques. Mineola, NY: Dover Publications, Incorporated, 1990 Nakata, Yujiro and Jeffrey Hunter. A History of the Art of China: Chinese Calligraphy. New York, NY: Weatherhill, 1982. Read More