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Introduction of Chinese Calligraphy

Chinese calligraphy (Brush calligraphy) is an art exclusive to Asian cultures. Qin (a string musical instrument), Qi (a strategic boardgame), Shu (calligraphy), Hua (painting) would be the 4 basic skills and disciplines of the Chinese literati.
Calligraphy is definitely a significant element of Chinese art. Its presentation format is an art that hinges on Chinese characters. And Chinese characters are ideographic in nature. Combinations of strokes of characters are open to a lot of possibilities. In comparison with other ethnicities’ phonographic writing system, Chinese characters are far more figurative. Also, aside from possessing a complete set of guidelines of brush (dot, horizontal stroke, falling stroke, vertical stroke, hook, and so on), the calligraphy of Chinese characters has also established a developed aesthetic program. Following the guidelines with the combination of Chinese characters and varying the combinations can express versatility in the styles of the art of calligraphy, creating aesthetics of different appearances and tastes.
Regarded as the most abstract and sublime sort of art in Chinese culture, "Shu Fa" (calligraphy) is usually believed to be most revealing of one's character. During the imperial era, calligraphy was utilized as a crucial criterion for choice of executives towards the Imperial court. In contrast to other visual art tactics, all calligraphy strokes are permanent and incorrigible, demanding cautious planning and confident execution. Such are the capabilities needed for an administrator / executive. While one has to conform towards the defined construction of phrases, the expression could be incredibly innovative. To exercise humanistic imagination and touch under the faceless laws and regulations can also be a virtue well appreciated.
By controlling the concentration of ink, the thickness and adsorptive of the paper, along with the flexibility of the brush, the artist is totally free to produce an infinite variety of designs and forms. In contrast to western calligraphy, diffusing ink blots and dry brush strokes are viewed as a natural impromptu expression rather than a fault. Although western calligraphy frequently pursues font-like uniformity, homogeneity of characters in one dimension is only a craft. To the artist, calligraphy can be a mental workout that coordinates the mind and the physique to decide on the very best styling in expressing the articles of the passage. It is a most comforting yet very disciplined exercise indeed for one's physical and spiritual well being. Historically, several calligraphy artists had been well-known for his or her longevity.
Brush calligraphy is not only loved and practiced by Chinese. Koreans and Japanese equally adore calligraphy as a vital treasure of their heritage. Several Japanese schools still have the tradition of having a pupil contest of writing big characters in the duration of beginning of the new school year. A biannual gathering commemorating the Lanting Xu by Wang Xi Zhi (Probably the most famous Chinese calligrapher in Jin dynasty,) is said to become held ceremonially in Japan. There exists a nationwide award of Wang Xi Zhi prize for the best calligraphy artist. Korean government officials have been essential to excel in calligraphy not too long ago. The office of Okinawa governor nonetheless displays a substantial screen of Chinese calligraphy being a dominating decor.
In the West, Picasso and Matisse are two artists who openly declared the impact by Chinese calligraphy on their works. Picasso once explained that if he was born as a Chinese, he would have already been a calligraphy artist instead of a painter.