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Chinese Calligraphy,
Abstract Art, Mind Painting
by Ngan Siu-Mui
Chapter 4
Watching Lady Gong-Sun's Sword Dance
Chang Hsü, outstanding calligrapher
The best known example in history where calligraphy and dancing were discussed together related to Chang Hsü (Zhang Xu), outstanding calligrapher in the Tang dynasty. His cursive script technique advanced significantly after watching Lady Kung-Suen’s sword dance, inspiring his principle of the undulating stroke. He became famous for the creation of the “crazy cursive” script, which brought calligraphy into an impassioned artistic realm.
Influence of Chang Hsü
The multiplicity of his horizontal and vertical brush strokes, and their unending possibilities may be likened to sudden thunder and lightning which instantaneously flash for thousands of miles. As his calligraphy style appeared unrestrained, he was nicknamed “Crazy Chang”. Nevertheless, though crazy, his calligraphy rested on traditional techniques, and it exerted a far-reaching influence on future calligraphers. His legacy was later perpetuated by the “mad monk”, Huai Su, who eventually developed his own style of “crazy cursive” script, thereby winning the reputation of “the Mad Inheriting from the Crazy”. Both of them were honored as the “cursive sages”.
Calligraphy and dancing
If we follow the idea-image discussed in Chapter 1, it is easy to imagine that the dancing movements of Lady Kung-Suen are, to a great extent, represented in Chang’s cursive script. Thus “as agile as a wandering dragon”, “as swift as a frightened snake”, and “the inability to trace the diverse changing propensities” describe well Chang’s cursive script.
Both Chinese calligraphy and dancing are entrancing in the gracefulness of their movements. Of course, they differ in their medium of expression: lines on paper for calligraphy, postures for dancing. The posture of brush manipulation has a direct bearing on the quality of strokes described. To be sure, calligraphy as an art benefits one’s well-being, and helps relieve mental strain and nervousness.
Posture of Chinese brush manipulation
The longer the practice, the more prominent its benefits for the mind. The reason why some beginners are unable to enjoy the pleasure and reap the benefits of calligraphy seems to lie in their ignorance of the posture of the brush manipulation. When comparing the lively and impassioned writings of the past with the dull and hackneyed calligraphy often found nowadays, one has the feeling that this art is on the decline.
Chinese calligraphy and social dancing
In the hope of enabling readers to enjoyably grasp the posture of Chinese brush manipulation in calligraphy, I shall here attempt to compare the movement of calligraphy and social dancing, which is popular both in the East and the West.
I. Lead with the Body
In social dancing, the natural trend is that forward, backward, sideways or turning movements must always be led by the body, and followed by the feet, which should never take the initiative to move the body. This brings swift movements and a proper distribution of energy. Similarly, in Chinese calligraphy, the fingers must not be used to move the brush. Instead, depending on the size of the characters written, the strength and movement must be transmitted - from the wrist, the elbow, the shoulders or even the waist - to the fingers, which are merely used to hold the brush.
This way, one can arrive at the stage where the strength of the whole body is exerted to write, as prescribed by the ancient calligraphers. Many specialized treatises on calligraphy give elaborate discussions on using the fingers to hold the brush, but very little on the body as the prime mover. Unaware of the principle that advises to “move the Chinese brush primarily through the body, the fingers serving only to hold it”, one is likely to sit or stand stiffly, not daring to move the body an inch, and moving the brush only with the strength of the fingers. This rigidity prevents moving agilely and flexibly. Calligraphy then becomes weak and lacks in spirit.
II. Use the Center of Gravity
In dancing, it is necessary to alternate the feet in order to follow the body while moving forward, backward, sideways or when turning. Hence, when doing so, the dancer must stand firmly on one foot maintaining the center of gravity, and support the whole body, making it possible to move in all directions without losing one’s balance. In calligraphy, the Chinese brush can be compared to the single foot, and the strength (center of gravity) must be exerted at the point of its tip to make it stand solidly, thereby describing powerful strokes and enabling one to move freely in all directions.
III. Take an Advantageous Position
In dancing, the body must assume an advantageous position. Since the end of one step becomes the start of another, the dancer must prepare for the beginning of the next step. Then, the movements are easy to execute, however varied they may be. For example, before turning, slightly turning the body first in the opposite direction will make the movement easier and give it more strength. In calligraphy, the brush point must also be in an advantageous position at the beginning and the end of the stroke to facilitate brush movements.
As an example, the hidden stroke used at the beginning of a stroke must first go in a reverse position. In other words, if the stroke’s direction is to the right, move slightly to the left, and if moving downward, slightly raise upward. At this point, it is impossible for the brush stem to remain perpendicular to the writing paper. In short, it will incline leftward, rightward, or towards top or bottom of the paper. As another example, at the end of a stroke, the tip must again be held in an advantageous position to prepare for the writing of the next stroke.
IV. Return to the First Position
On the completion of each section of dancing steps, both feet must return to their original position (close together or follow-through). This enables the dancer to move at ease in any direction without losing balance. Each stroke in calligraphy may be considered as a section of dance steps. When the tip of the brush travels to the end of the stroke, the hair of the tip must resume original shape, before starting another stroke. This prevents the hair from spreading out which would result in undesirable strokes.
V. Orientation
In dancing, whether moving forward, backward, sideways or turning around, one must know beforehand the intended direction to ensure the body can move in that direction. In moving the brush, the direction must also first be known, so as to carry the brush point accurately from one stroke to another. Only then, can elegance be maintained for the strokes in each character, and can a nice composition be attained for the whole calligraphy.
VI. Sharpness in Response
In dancing, the man and woman signal by hand or body contact. Hence, great importance is attached to the mutual arrangements of the hands, as well as the intensity of the pull or the push. Only appropriate contacts can initiate sharp responses, so that the dancing partners can match their steps, without the danger of moving in undesired directions.
The calligrapher is the active partner, and the Chinese brush is the passive follower. Attention must be drawn to brush holding and manipulation, and to the degree of strength applied to it. Then, the writer can sharply respond to every little movement of the brush tip along the paper. This way, the strength and speed of brush manipulation can be adjusted as one pleases.
VII. Flow of Rhythm
There must be light, heavy, quick and slow movements in dancing, and this is the same in calligraphy. Dancing has to rely on musical rhythm and the dancer’s interpretation of it. In Chinese calligraphy, the different characters, styles and idea-images generate different rhythms. Moreover, in terms of rhythm, there is greater freedom in the latter, although it demands a high degree of planning. Generally speaking, the seal, clerical and regular scripts have a slower rhythm, but are less varied than the running and cursive scripts. If the flow of the brush is rhythmic, the brush strokes are then full of life and vitality.
VIII. Delaying
In dancing, one has frequently to delay the footstep or follow through; in calligraphy, one has to delay the brush point. Delaying the footstep means to temporarily pause the foot in anticipation, so as to gain momentum from the ground to strengthen one’s movements. Delaying the point means to temporarily pause the brush, as though something stands in the way and must be fought against, before one can continue. This notion is in agreement with the ancient calligraphers’ opinion that the ability to generate the sound of friction when the brush glides along the paper is the result of brush delay. Its effect is to make every portion of the stroke sturdy and forceful.
IX. Straightness Visible in Curvature
There is no need to draw lines on the floor in dancing, however advance, retreat and roundabouts of footsteps should follow the locus of “straightness visible in curvature and curvature visible in straightness”. In calligraphy, if this principle is not properly adhered to, then the shape of every stroke, the construction of every character and the composition of the whole piece of work will lose the beauty of elegant flow.
X. Suppleness
As in dancing, where the knees have to be slightly bent, in calligraphy, the finger joints must also be slightly bent outward when holding the brush to prevent stiffness, which would then show a lack of agility and flexibility in moving.
Brush movements and the whole body
The above analogies are enough to demonstrate that Chinese calligraphy involves the whole body during brush movements. Although different brush manipulation techniques are introduced in Chapter 5, in its highest level of excellence, Chinese brush manipulation can reach the stage where the mind and the hand are mutually responsive. Then, one can reach the level where “the hand does not initiate movement but the wrist does; and the wrist does not initiate movement but the mind does”.
Chinese calligraphy in real life
Movement initiated by the mind is the highest artistic realm one can reach in calligraphy. That is what was mentioned in Chapter 1: the union of techniques with idea-image applied to brush manipulation. Even the very ordinary things in daily life can inspire the calligraphy. Of this, there were ample records in history:
- Cai Yong, in the Han dynasty, saw a mason brushing characters with slaked lime. He was so interested by what he saw that upon returning home, he invented the “Flying White” calligraphic style.
- Zhang Zu, in the Tang dynasty, reflected many delightful and surprising changes seen in heaven and on earth in his calligraphy. For example, after seeing a princess’ porters struggling to make way on the road, and hearing the blowing and beating of musical instruments, he evolved the methods and implications of the use of the brush.
- Yan Zhen Xiang, also from the Tang dynasty, used the marks on a leaking house to describe the naturalness and vitality of brush manipulation.
- Huang Ting Xian, of the Sung dynasty, saw a boatman rowing with an oar and understood the reason of bringing the brush tip to every part of the brush stroke.
- Xian-Yu Shu, also of the Sung dynasty, after seeing a chariot driver struggling in the mud, understood the effect of delaying the brush point.
- Ou-Yang Xiu, during the same dynasty, described T’sai Hsiang’s calligraphy as “if moving up a current, exhausting one’s energy, but still remaining in the same place”. This explains well the resistance produced by Tsai’s use of the brush delay technique, which he applied with remarkable effect in his brush strokes.
- Wen Tong, of the Sung dynasty, saw snakes fighting and understood how both Chang Hsü and Huai Su perceived the principle of the cursive script.
If we meticulously ponder over the experiences in creations by foregone calligraphers, surely there must be breakthroughs and discoveries in the practice and appreciation of calligraphy. At the same time, this reveals an important spirit of calligraphy: it is an art inseparable from real life whose happenings can be a source of inspiration for calligraphy creations.
Table of contents
- Introduction
- Chapter 1 — Creative Energy in Calligraphy
- Chapter 2 — Chinese Calligraphy Scripts
- Chapter 3 — The Calligrapher's Tools :: Chinese brush, paper, ink and ink stone
- Chapter 4 — Watching Lady Gong-Sun's Sword Dance :: The dance of Chinese brush
- Chapter 5 — Chinese Brush Techniques for Calligraphy
- Chapter 6 — Approach to Chinese Calligraphy through the Seal Script
- Chapter 7 — Approach to Chinese Calligraphy Techniques through the Regular Script
- Chapter 8 — Studying the Writings of Ancient Chinese Calligraphers
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