Part I, Part II(a), and Part II(b) of this series about brush techniques described arm positioning principles (腕法, わんほう, wanhō, i.e., the way the arm is utilized while holding a brush) and brush holding principles (執筆法, しっぴつほう, shippitsuhō, i.e., the position of fingers on the brush axis), respectively. In this article I will discuss brush operating principles (用筆法, ようひつほう, yōhitsu hō), i.e. the way in which the brush is controlled by the arm, wrist and finger, allowing the calligrapher to write … [Read more...]
Archives for February 2012
Shifty Characters
One of the keys to understanding the Chinese writing system, and therefore calligraphy, is comprehending the various nuances as well as the specific terminology native to the art of Far Eastern calligraphy. To assist the reader and in parallel with articles, some time ago we launched www.shodopedia.com, a website which currently has over 300 calligraphy terms and calligraphy related historical facts or topics elaborated upon. We plan to add to this database regularly. Thus, at this time I would … [Read more...]
Magnificent Ink Giants
The aesthetic challenges of creating massive ink traces can be likened to passing a withered suspended bridge stretched between two mountain peaks piercing through clouds. Large scale calligraphy will test your sense of balance, awareness, coordination of body and mind as well as challenge your artistic vision. I have written many large calligraphy works, but, I must say, when I entered the hall of the Hakuhousha Calligraphy Exhibition (白峰社展覧会, はくほうしゃてんらんかい, Hakuhōsha Tenrankai) I was blown … [Read more...]
- 1
- 2
- 3
- 4
- Next Page »