Page 165 - China, 5000 years : innovation and transformation in the arts
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AESTHETIC CRITERIA: RESONANCE, .^E^rV V . v^C X jtttt i
METHODS, IDEAS .
Looking back on the long history of calligraphy Fig. 5. Shuang ("frost"). Computer-generated image;
(left) from Wang Xizhi (3077-365?), "Fengju tie"; (right)
that preceded him, the Ming dynasty theorist Dong from Lujianzhi (7th c), Rhapsody on Literature.
Qichang (1555— 1636) recognized three epochs
fundamental to the formation of the canon and
succinctly characterized each one: Jin dynasty
calligraphy is governed by yun ("resonance"), Tang
dynasty (618-907) calligraphy by fa ("methods"),
and Song dynasty (960-1279) calligraphy by yi
("ideas")/' Terse formulations such as this
oversimplify the complexities of history.
Nonetheless, it remains an insightful observation
and a useful point of departure for a brief
discussion of some of Chinese calligraphy 's aesthetic
qualities.
By Jin dynasty calligraphy, Dong Qichang was in a single brush stroke, but slti more commonly
referring to the tradition exemplified by Wang emerges through the interaction of two or more
Xizhi and Wang Xianzhi, or the Two Wangs, that
developed during the fourth century. Wang Xizhi's —elements in the calligraphy brush strokes
calligraphy, in particular, was considered interacting to create perceptions of continuity and
representative of the artistically graceful writing discontinuity, balance and confrontation. Shi is an
adopted for casual notes and letters by the essential component of all good calligraphy from all
periods, but its manner of presentation differs
aristocrats of his day. What can be gleaned from depending on both personal and period styles. In
writings attributed to the Jin period that energy
extant Tang dynasty tracing copies of calligraphy seems muted by refinement and decorum.
Individual elements tend to achieve subtle
attributed to Wang Xizhi suggests a remarkably balancing of forms and forces, with generous spaces
controlled hand that demanded nothing less than
Acreated between the traces of ink. quiet, self-
perfection of beauty from the brush (fig. 4). Each
stroke is utterly smooth and tensile, ribbon-like in contained energy seemingly resonates about the
its twists and turns. At the same time, the writing like an electrical field. This, I would
calligraphy displays an extraordinary sense of ease. It
appears absolutely unforced and natural, which was suggest, is what Dong Qichang refers to as yun
precisely the writers aim. Early critiques of
calligraphy almost invariably utilize metaphors of ("resonance").
the natural world to describe the forms and forces
of the writing. Suo Jing (239-303), for example, A single character from one Wang Xizhi attribution
wrote the following in reference to the informal
and abbreviated cursive script: will help to illustrate (fig. The5, left). graph shuang
("frost") is composed of two basic elements: the
Quivering like a startled phoenix, upper portion, which by itself means "rain," and the
lower portion, which is composed of left and right
Not yet aloft, wings spread, units. Note the length of the stroke at the upper
Ready to rise,
left. This was the second stroke to be written (after
It returns to a state of rest. the topmost horizontal stroke), and it is so
Insects and snakes coiled and poised: pronounced that in writing the rest of the character
the calligrapher had to consider ways to counter a
Some advancing, others retreating,
Some fragile, soft and willowy, threatened imbalance in the overall structure. Two
Others aggressive, charging forward. solutions are apparent: a strong right-to-left curving
Wandering freely, this way and that, stroke that connects the upper portion of the
Suddenly upright, suddenly twisted. character to the lower left element, and the vertical
stroke on the right side of the lower right element.
An outstanding steed bolts in anger.
The former parallels and balances that problematic
Struggling against the bridle. 7
second stroke while echoing and amplifying the
Suo Jing's emphasis is on the energy of the curving stroke immediately above and to the right
calligraphy, its sense of movement and liveliness. (which preceded it), thus creating a strong
The general term used to describe such energy is
shi, which can be roughly translated as "configur.il cascading movement that helps to anchor the top
force," or "momentum." Shi is the manifestation of element. The verticil stroke at the lower right was
—both potential and kinetic energy process about the very last stroke of the character. It extends a bil
to happen and already realized. It can be embodied —lower than it otherwise might have a last, minor
correction to balance the entire composition. This
CALLIGRAPHY 163
