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How to write Chinese Calligraphy

How to write Chinese Calligraphy
Writing method in a large sense contains the way to hold and use the brush to write characters. There are numerous approaches to wield the brush. I shall dwell only on the basic techniques.
The Chinese term qi bi(起笔) literally signifies to begin your stroke. The term shou bi(收笔) signifies to end your stroke.
In writing characters each stroke includes qi bi and shou bi. If the stroke of a Chinese character is regarded as the basis of word construction, qi bi and shou bi are important methods that determine the type of your stroke.
You should not make indecisive strokes -not understanding how you are going to write the strokes and where exactly they may be lead to. It will also not do if the strokes become unrecognizable-if the forceful strokes cannot be told from the light strokes. If you are indecisive in writing strokes in calligraphy, your characters will probably be like withered trees, formless or styleless. The beginner won't be able to master the method, but must pay due attention towards the approach. A number of people happen to be writing Chinese characters for numerous decades and still don't know the method of qi bi and shou bi. They tend to neglect the technique. It is essential to concentrate on it as you begin to write characters and cultivate great habits in writing strokes as you go along.
The basic strategy to qi bi is: If you want to write a horizontal stroke, you must hold the brush per-pendicularly to start with. To complete a perpendicular stroke, start it horizontally.
The fundamental method to shou bi is: If you finish your perpendicular stroke, you have to make the stroke appear like dew about to drop. When you end your horizontal stroke, you must proceed towards the appropriate after which come back for the left. This approach is repeated each time.
◆Lift and press the brush
Once you write words on a piece of paper, you do not use the exact same force all the time. You first lift the brush up, then press it down. Writing includes an alternate method of lifting up and pressing down. At times you do it having a heavy hand, at times lightly. The characters appear heavy or fine. You may do a stroke with a hook or do a downward stroke slanting towards the proper. Within this way the strokes give viewers a sense of rhythm.
The idea conveyed via the dot or the dash will come to life. The style of the calligraphy will appear on paper.
◆Zang feng and lu feng
What is feng? The tip of the brush contains a central a part of sharp, long hair (the key part), and its sur-rounding a part of shorter hair. In the case that you spread the hair evenly, you'll see beneath sunlight that the tip of the main hair is transparent. This is known as feng -the tip of the brush. It also signifies the cutting power of your brush. The term zang feng refers to initial and last touch of the brush tip on the paper hidden in the writing stroke. In qi bi or shou bi you do not reveal these touches. This allows the cutting energy of the brush to be kept within the strokes of the characters. The zang feng stroke imparts a suggestion of power, not revealing all that's in the mind with the calligrapher. This is what the ancient Chinese contact sparing your cutting energy in order to include you power or vitality.
Lu feng, in contrast, signifies a deliberate revelation of the cutting power of the brush, providing viewers with a sense of sharpness. This can be what the ancient Chinese describe as revelation of the cutting energy of the brush to offer free rein to the spirit.
The zang feng approach of wielding the brush signifies you turn the point in the direction opposite the one particular intended. For instance, if you need to write a stroke from left to right, begin it by pressing the brush point towards the right and then moving your brush a bit for the left to write the stroke to the correct. Finish the stroke by returning a bit to the left. The cutting power of the brush will then be contained in the stroke.
Lu feng indicates the tip of the brush does not come from the opposite direction. You don't keep the cutting energy of the brush within the stroke. The cutting energy is revealed outwardly.
◆Zhuang feng and zhe feng
Zhuan feng is utilized to write a round dot. This needs nonstop turning of the brush. Just let the tip of the brush go round and round. The dot is not going to grow to be a square. Make a turn and it will be round, ancient Chinese stated. This is what is meant by the term zhuan feng.
Zhe feng is used to write square strokes. The Chinese term zhe means to twist or bend. You break the line of your stroke to make a square, ancient Chinese said.
◆Zhong feng and ce feng
Zhongfeng, or the central cutting power of the brush refers to keeping your brush point always in the middle of the stroke. In this way the strokes will be complete and round, will possess a three dimensional effect and can not appear plain. Ancient Chinese tended to overstress zhong feng, but they had a point there.
Ce feng signifies the writer uses the brush point one-sidedly or in a sidelong manner. The brush point is on a single side in the stroke. Ancient Chinese described zhongfeng as a implies to exert vigor, although ce feng was a signifies to attain elegance or beauty. A foremost calligrapher, Wang Xizhi (303-361), wrote his introduction towards the Orchid Pavilion beautifully. The beauty of his calligraphy lies in his sidelong effect. Obviously, he uses each zhong feng and ce feng as the necessity arises.
The ten writing capabilities mentioned above are not isolated. Connected to one another, they type an integral movement. I've described them one particular by one only for the sake of comfort. Calligraphy is an art. The expertise, too, form an art. As such they're the outcome of long practice. It is difficult to describe their specifics or delicate points in words. In writing be sure to pay attention to each one and use them flexibly.