September 6, 2019 0

Chinese Calligraphy(Elementary Level) part 5

Chinese Calligraphy(Elementary Level) part 5

Hello calligraphy fans. We meet again. In the previous two
lessons, I discussed composition and
the forms of a piece of calligraphy. In terms of a complete work,there
is something else to discuss. Inscriptions and seals. First, I will talk about inscriptions. What is an inscription? When we have finished
writing the main text of a piece, we have to write our own name and
related content directly on the piece. This part of the work,is called
the ‘luo kuan’meaning inscription. If
the main text takes the leading role,
the inscription has a supporting role. Supporting roles are really important. They provide embellishmentJike
the final stroke of a painting. Never underestimate it The
inscription has an important function, in completing
and perfecting your composition. When I was learning calligraphy,
I used to ignore this issue. I would work so hard on the main text
only to hastily tack on the inscription. At the very end the result was failure so I
hope everyone will draw on this lesson
and take the inscription seriously. Now we will
learn about how to make an inscription. When we complete the piece, we can
leave a ‘qiong kuan’ or a ‘fan kuan’. For
a ‘qiong kuan’, when you finish a piece You can just write your name My name for example, Li Zhengyan. Or you can even leave out the surname Simply writing
Zhengyan ‘Qiong kuan’ means “less”. With
this, the works have an inscription And in a certain sense for the beginner It can even cover up the fact That the inscription is not good When making an inscription,
there is also the ‘fan kuan’ style. Take this piece for example, there
is an inscription on top and one below. There are relatively
more characters; this is ‘fan kuan.’ You can
write the year of the work, something
about the content of the main text, express the feelings
or state of mind when making the
piece, or where the piece was made, etc. You can also write the names of people
who may have commissioned the work or something
about the recipient of the work. All kinds of stuff This not only shows respect,
but also adds beauty to both the
content and the structure of the piece. That is a brief description
of ‘qiong’ and ‘fan’ inscriptions. What should we keep
in mind when making an inscription? First,do
not write the characters too large. Do not confuse
the primary and secondary content. They should
not be bigger than the main text. Second, there are particular
locations for an inscription. These two works are good examples. Put the
inscription below the first character And at the end
it should be shorter than the main text If it is the same,
or longer, this is not quite right. Third,
we can see how the inscription is
written on each side of the main text. If it is written too far from the text, We may feel that the piece is too loose If it is too close, the piece may feel
compressed and lacking in circulation. Fourth, we should think about style The characters should
be in ‘xing shu’ or ‘kai shu’ style Lastly, because we still need to place the
seal stamp after we write the inscription,
we must leave space for this stamp. That is an introduction on inscriptions.
Now, let’s look at seals. There are so many types of seals. When we make an artwork you should
choose a seal depending on your needs On the table,
I have big seals and small seals. For the different sizes. You can choose
a seal according to the situation. There are two main types of seals. The ‘yang wen’ seal has red characters The characters come out in red The second
is ‘yin wen’it has white characters Both of these can be used It is best to alternate
between the two in a single piece. Usually,
when we are having these carved For instance, with my surname
I can use red characters and the
‘yin wen’ seal with white characters Can be used for my given name,
Zhengyan. This makes a contrast. There are also other
kinds of seals like ‘sui xing’ which
follows the shape of the seal stone. Look here. The characters are carved
according to the shape of the stone. Usually,
our name seals. Take on a square shape These
‘sui xing’ seals can be rectangular They can be circular or irregular Look. This is an irregular seal. It is called ‘sui xing’
seal meaning ‘follow the form’ seal. Irregular seals
are usually used at the beginning
of a piece before the main text The content is used to set the mood For example, lines like
happiness, luck and beauty, poetry
or even blessings and expressions. That is our introduction to the seal. How do we use a seal? Take a look. There are three
important aspects of placing the seal. First, if the piece itself is
big and the characters are large, then
the seal should also be relatively big. Conversely, if
the piece has small characters in the
main text, you must use a small seal. Aside
from this it is also important not to
stamp too many seals in a single piece. One, two or three is probably enough. There
is no need to cover the whole thing. This is just for appreciation Third, it is important to pay attention
to the placement of the seals. A starting seal should be placed
around the first or second character
at the start of the main text. At
the end, we can see this kind of seal. No need to exceed
the lowest line of the main text. If you want to use both
a ‘yang wen’ seal and a ‘yin wen’ seal, it is best to place the ‘yang
wen’ seal with the last name at the top and the ‘yin wen’
seal with the first name at the bottom. Pay attention to the
space in between and it will be good. In summary, a very beautiful
piece will showcase the main body
of text to show off the calligraphy. Second, you have to have
a beautiful, harmonious inscription. Finally,
you need one or two bits of red Which
is from the seal. This is the way to
put together a graceful piece of work. Ok. That is all for the introduction
to inscriptions and seals. The last six
sessions were about writing technique I hope that this section helps you as
you continue your study of calligraphy. Next,
let’s begin our character practice. Today, I want to continue
to study characters from the tablet
we practiced in the previous lesson. Today, I have decided
to do a ‘dui lian’, or couplet. The paper I have chosen
is the eaves-tile printed paper. It has gold flecks Which sparkle,
and it also has the ‘eaves tile’ design Because
we are writing eight characters, ‘dong fang ju long, wan Ii chang cheng,’ I decided to use this style. SLet’s write the first couplet. ‘Dong fang ju long’
meaning Great Dragon of the East. Before we begin We can take a moment here to remember the ‘Zhang
Qian Tablet’ from the previous class. It was especially flat and square. The characters were rather hard. As we write today’s characters, we
are going to hold this idea in our heads And there shouldn’t be any problems We have
already studied this ‘dong’ character. Pay attention
to the strength of this stroke. This ‘shu’
stroke should be written so as to be in the middle of the whole character. The position of this ‘shu’ stroke will determine the central
axis line for the following characters. – Dor19-‘ Now Write ‘Fang.’ Since we are using this kind of paper, We can take this idea Writing in each tile Each one is a circle We can take the characters
and put them right in the circle We don’t need to make any folds. This ‘dian’ should
be aligned with the strokes above; this way there
will less deviation in the position. ‘Fang-I uul. This is a turn, but don’t pause Lift or break the line Either way is fine You can tell
this character has many ‘heng’ strokes. In order to keep it dynamic, these
‘heng’ strokes can be closer together And the last ‘heng’ can be thicker -l_or19-‘ Write it here, a light return stroke. Lift. Lift. Lift. Downward. This is a little
bit hollow, but it is still fine. Ok. ‘Dong fang ju long.’ Now
we have the first part of the couple’: Let’s continue to write the second one. First, set this one aside. Place the paper in the right position. This is ‘wan Ii chang cheng’,
meaning the Great Wall of China. Remember, we are following a pattern and each character
is written inside the printed design. Make sure the foot
of this ‘na’ stroke comes out clear. When there are several small strokes, we have to write them delicately. Here is another central axis line in this ‘shu’ stroke. The axis line sets the position for the following characters. Telling them where to go So this stroke
has a definite significance here. Because
we are running out of ink on the brush, write slowly. There
are a few hollow places in the strokes. This is a natural phenomenon. This has some hollow places. Sometimes, a
calligrapher pursues this kind of look. But we should not have
these hollow spots in every character. If every character had hollow spots, it would create a dry and dull feeling. So, we need
to have some strokes heavy with ink and some rather dry. This will give
the piece a strong sense of contrast. Ok. We can say this last ‘na’ stroke is the principle
stroke in the word ‘chang cheng’ meaning, literally, ‘long city.’ “chang ” and now ” cheng ” Pay attention
here. This stroke should be forceful. It should feel like the brush
has a strong friction with the paper. It does not glide gently. Turn the brush. And the last ‘dian.’ Ok.
We have finished the second couplet. Lastly, we write the inscription. How about we make a ‘qiong kuan’? Add my last name. Now, we have to ink the seal. Let’s do two One here. One here. According to the size of the main text, We want to use a bigger seal Bigger at least Than the one before Place a book underneath. Look. This is what I was saying. This
is the red characters ‘yang wen’ seal for my last name, Li. Let’s
take the other stamp, the ‘yin wen’ For my given name If you place
it too close, it will feel cramped. You have to make
a decision considering the whole piece. Look here, the characters are white This is our complete piece. This is the second couple’: and this is the first couplet. If you still want to add another seal, place it here, or in the
middle of the second or third characters at
the beginning of the text. Let’s do it. This is a ‘sui xing’ irregular seal. Place it here like this. This is really beautiful. Ok. That is all for today’s demonstration. I
hope everyone can find some characters to practice on your own. Good bye. Hello calligraphy fans. In previous lessons, I have introduced calligraphy knowledge, such as the ‘writer’s essentials’ and calligraphy techniques. I have
also introduced some simple characters as we create our own works of art. If you think this means that Learning calligraphy is easy then I would like to take the time to begin to talk about the different styles of calligraphy, such as
‘jin wen’, ‘jia go wen’, ‘xiao zhuan’, ‘Ii shu’,’xing
shu’,’cao shu’ and ‘kai shu’ script. I think that through.
My introduction of these scripts and especially
the stroke styles of these scripts Everyone can gain A deeper understanding I want to use our practice to help you quickly
get into the calligraphy state of mind. In our first lesson on scripts, we will focus on
‘jia go wen’ oracle bone inscriptions. What is ‘jia go wen’? Take a look. ‘Jia go wen’ are carved
on animal bones or tortoise shells. These
characters are called ‘jia go wen.’ These characters have been carved then covered over in red, like this example here or this one in the book. There are obvious carved markings And the carvings
have been filled in with red color. The emergence of ‘jia go wen’ was relatively
early in China’s Shang Dynasty, but they weren’t known to modern man until very late up to now, they’ve
only been known for about 100 years. In China, In the province of Henan farmers from the village of Anyang often discover animal bones as
they till the soil and plow the fields. Occasionally,
these bones will have carved symbols. They
thought they were the bones of dragons and the farmers
often sell the bones to pharmacies for use as medicinal treatments. In 1899, during the Qing Dynasty, an official named Wang Yirong, sent a servant
out to buy medicine when he was sick. By chance,
he found some fragments of these bones in his medicine, some of which had carved symbols. This caught his attention he knew a lot about writing. This is how we discovered The
‘jia go wen’ fragments we see today. He sent
people for mass collection and research and others followed Of course, there are people who raid and rob these sites and by doing so have destroyed so much. Today, ‘jia
go wen’ is a popular course of study; in the field of calligraphy, we often
create pieces in ‘jia go wen’ style. Today, I want to help you to recognize and write ‘jia go wen.’ As for ‘jia go wen’
perhaps some of you will remember them from our discussion of
Chinese characters in the first lesson, we looked
at some ‘jia go wen’ style characters. They are very pictographic Today, I will write some characters. I
will not tell you what this is called. Can you tell what it is? Doesn’t
this look like a head of the child two hands and a body? See it? This is the character we use today for ‘zi’ meaning child. A child’s head is really big and
the two little hands are reaching up. This is ‘zi.’ child. Sometimes, there may be
three small things on the child’s head, like hair. This is also ‘zi.’ The characters in ‘jia
go wen’ are not particularly fixed; there may be
many ways to write a single character. For example, this child may or may not have hair on its head or it may
be leaning to the left or to the right. I will give another example. It also has various postures. Which one is this? This is ‘yue’, or moon You can
write it this way or you can write it with a dot in the middle. It really looks like a moon. For example, I’ll write this one. This one actually looks a lot like what we really see I’ll write it this looks like a three-legged cauldron. If we do this, look at that, It becomes the character that is “ding”, for cauldron It could also be “zhen”, real. N Ding ll Let’s look at some animals. This is the animal body from the side. These are the two legs. A fat belly. This is the character ‘shi’ for pig. The pig belly is big and fat. This
character can be written in many ways. This is a particular characteristic of ‘jia go wen’ style writing. Let’s
write another couple of characters. For example, here’s another animal This is the head. These are the huge eyes. Sometimes it even has a big mouth. This is the spine and the tail. The legs. Body. Look at the body it’s a lot thinner than the pig we drew before. Legs. The
most important feature of this animal is on its neck. These three hairs represent a full mane. This is a ‘ma’ meaning horse. This mane
is the greatest trait of the horse. Let’s draw another animal. This one has a mouth, slightly open. What kind of animal has an open mouth? Big eyes. Big body, but not too big. Pay attention to the tail, big eyes and open mouth. The tail is really short. This is ‘tu’ meaning rabbit. Ok. That is the end of
my simple introduction to ‘jia go wen.’ Next, let’s see what the result will be when we create a complete piece using ‘jia go wen’ style characters. Ok. I have chosen this character. I will not tell you what it is. You can try to take a guess. When I
talk about characters and am writing, I should
talk about how to write the strokes. Because the characters are carved on bones or shells, we need to try to
achieve a look that feels like carving. They also have the
hidden and reverse peaks in the strokes Take a look. The strokes are powerful. No need to have a return stroke here, just
directly pull the stroke to the end. With this stroke, look here, first go left, then to the right. ‘Heng.’ A return stroke. The raw brush edge is not a problem. Not every
return stroke should have a raw edge. There should be some variation. This
character has some transition strokes. The power in the carving-like strokes should stand out. Here I want to say follow to the end
here do a return stroke and you got it. Now
that we see this character complete, can you tell what it is? Looking at it now This is the pig we looked at before. Well, this pig is under a house. This
is the character ‘jia’ meaning house. In the primitive ancient
society, during the slavery stage we can say that
people generally lived in a house above while a fenced enclosure below was used for raising pigs and livestock. So this depicts a house. Not a pig sty, but a house. Ok. This is a single character. After writing a solitary character, we have to write the inscription. We can place the seal here. There
is no need to write a long inscription. I
will write a ‘qiong kuan’ with my name. In this spot here We said
before that the text in the inscription should be smaller than the main text and should
be written in the ‘xing shu’ style. Let’s ink the stamp. Place a book under the paper. The seal would be a little too high if we
placed it here this is not good either. You must find a good place. This is a good position. Just a stamp is fine Let’s use this red character seal. And then
let’s use this white character seal. That’s pretty. Let’s
write the word ‘ma che’, meaning cart. We have
already talked about how to write ‘ma’. Big eyes. This is the back side. These transitions should be clear. Return
stroke. Pause. This is the belly. For this stroke, we can do it like this, this is how we do the legs You definitely
cannot forget to add the mane. This is the distinguishing feature. ‘Che’, meaning vehicle. Look at how pictographic it is. It’s viewed from above. These are the axels. This is where the horse is harnessed. This is the cabin. These are the wheels. The strokes are slightly hollow, which is natural. Because
there is not enough ink on the brush, we get some hollow strokes. “Ma Che” Lastly, I will inscribe my name. We can stamp it right here. I can stamp it here or here. Since
there’s a lot of space, we can do two My last name. My first name. Leave some space. That Ok. At the beginning of the main text, we can place a stamp here. This works pretty well. Here we have
an artwork, “horse cart” It is done. This is a horizontal scroll. There are so
many other styles and I hope you can explore them on your own. That is the end of today’s lesson. See you next time. Hello everyone. Today
lam going to continue to introduce Chinese character styles. ‘Jin wen.’ Some people may ask Are these characters written in gold? No. Although ‘jin’ means gold, the
term ‘jin wen’ refers to bronze ware. ‘Jin wen’ is writing
carved or engraved on bronze ware. Here, the ‘jin’ also means sturdy. Take a look at this picture. Bronze ware is the primary artifact from China’s Shang Dynasty. These
characters were generally carved onto bronze ware, bells and three-legged vessels called ‘ding’. So ‘Jin wen’ inscriptions have been called ‘bell and ding writing.’ These inscriptions
are placed here on the bell or on the interior walls of the bell. They are inscribed on the
interior walls of the ‘ding’ vessels. These
are our nation’s celebrated bronzes and bronzeware inscriptions. These are
inscriptions on a large ‘ding’ vessel. This is also a ‘ding’ vessel. This is a tray. The writing
is on the bottom of the interior. As we look at these characters, we notice that this has different
characteristics than ‘jia go wen.’ This is a Zhou style
of calligraphy called ‘da zhuan.’ In addition
to being carved on bronze ware, ‘da zhuan’
inscriptions are also carved in stone. This is an example of a ‘da zhuan’ inscription in stone. This is a drum-shaped
stone block called a ‘shi go.’ This
is a ‘shi gu’ from the Qin Dynasty. The characters are called ‘shi go wen.’ These characters
are carved on the inside of the vessel. Each sentence has four characters. This depicts
the monarch from the Qin Kingdom going on a hunting tour. This has become
known as a ‘lie jie’ or hunting tablet. A ‘jie’ tablet is short and low like a stone drum. Let’s
look at the traits of ‘shi go wen.’ They
are more dignified, graceful and neat compared to ‘jia go wen.’ The strokes are round and
full of the sense of brush movements Of
course, ‘da zhuan’ style ‘shi go wen’ has had a major influence on the development
of ‘xiao zhuan’ standard script and laid the
foundation for today’s written language. Unlike the strong
painting-like quality of ‘jia go wen,’ it takes
a major step toward standardization. In short, Chinese ‘da zhuan’ script has many styles. and forms. In the process of practicing, you can
continue to study, imitate and compare. Find
a style you like and keep learning. That is the introduction for today. Next, we
will take ‘shi go wen’ as our example for today’s character practice. I have in my hands an inscription called ‘Qin Shi Gu Wen.’ This stone block was quite rough. Perhaps some of you noticed the
stone block has some holes chiseled out. This piece
has had long and difficult journey. Sometimes scattered amongst the people and grabbed up by farmers
to be used for practical purposes. They may have
carved the holes to support a house or dug the holes for feeding the horses. It really was a rocky road. Now its value has been recognized, it is in storage in the Palace Museum. Now look at this character. You
can understand why it is so mottled. Some characters are even unreadable. Because this
object had such a difficult history, some characters have almost disappeared. Of course, when you are practicing, you
can find some clear characters to write. Let’s find some characters to practice. You should remember this one. Before, when we discussed ‘jia go wen’ we learned
this character, ‘zi’ meaning child. This is a big square head. You
can see the strokes are round and full. We can write this stroke
first, then continue with this one. Use the middle of
the bristles to make the strokes round. And connect
this stroke. This is a child’s body. This is one hand and another hand. ‘Zi.’ Looking at these characters, this style has a gentle beauty compared to ‘jia go wen.’ Let’s look at this character. This looks like it is one character. Actually, it is two. ‘Xiao yu’ meaning small fish. ‘Xiao.’ Look at this ‘yu.’ It looks just like a fish. This is the head. This is the body. This is the fish tail. This part is the fin. This is the other fin. The fish tail is lovely. Add a little adornment. It looks like a single character, but it is actually two; ‘xiao yu.’ Let’s see another example to practice. None of them are clear. This one is a little clearer. This side is yet another ‘zi’ meaning child. On this side, look, a person from the side with both arms crossed standing in this position or kneeling. Some
are like this. Curve it as you write. Some are written like this. This
is the character ‘nv’, meaning woman. When you have a woman and a child, the ancients believed this was a really good thing, so this
is the character ‘hao’, meaning good. If
we write it in today’s ‘kai shu’ style, this is the Chinese character for good. If we are writing in ‘da zhuan’ style, we write it in reverse order first we write the ‘zi’ then the ‘nv’. It is still ‘hao.’ Let’s do another one. We learned this one in the last lesson. ‘Che’ meaning cart. Make sure to write full strokes. The ‘jia go wen’
carved feeling should be decreased. Each stroke is in agreement. This ‘che’
gives expression to the back half. Here are the wheels. Axels. The cabin is here. The part
where the horse is tied is omitted. This was an advancement as characters became more spare. Look at the ‘ma’ character for horse. We have already learned it. It has gone through some changes. The mane is still there regardless of what was cut out or left in. It
is the greatest feature of this animal. The
horse’s legs and tail have not changed. Here it is the head and eyes that have been left out. That is
all for our look at single characters. Next, I would like
to make a complete piece together. Let’s write ‘ping an’, meaning safe and sound. This is an eaves-tile
design and there’s a horse here. Let’s use this
special paper and write vertically. Pay attention to the tip of the brush. Some of the
strokes should have a feel of tension, rather than any kind of looseness. When you want to
go right, first, take the stroke left. Then this stroke follows. This is the master stroke of ‘ping.’ That’s Ping. Now An. Notice the tip. Follow this route. We have also learned this one. This symbolizes a room. This is one of the components. Inside, there is a woman with both arms crossed kneeling down in a room. Ping Ping An An. The main text of the piece is complete. We can write a small inscription. Wu zi. Chun. Zheng yan. ‘Wu zi’ means
the 60th year of the Chinese cycle. This is another way of counting years ‘Chun’ is spring to mark the season. And following is my name. Lastly, we need to place the seal. Let’s just use one. This way. Two might look too heavy. Zheng yan. Then, by the same token, we place
a seal in this position at the front. When you ink the seal,
you have to press hard and lift softly in
order to get all sides stained with ink. You have
to press quite hard, then lift softly. Ok. The piece is complete. Our vertical banner is complete. Okay friends, I hope you can all
continue to practice writing ‘ping an.’ At the same time,
I wish you all a safe and sound life. Thank you everyone. Hello friends!
In the last lesson, I introduced ‘da zhuan’
and ‘shi go wen’ style characters. In today’s lesson,I
want to continue my introduction
of’xiao zhuan’ style characters. Are ‘xiao zhuan’ characters simply
smaller than ‘da zhuan’ chracters? No. During the Warring States
period, China was extremely chaotic. Each nation’s writing was distinct until
the first emperor of the Qin Dynasty
carried out a unification project. He
not only unified the various nations, but he also
ordered the prime minister, Li Si, and others to begin to integrate
and unify the written languages, currencies, and weights and measures. In the process
of unifying the written language, Li Si used the foundation of Qin
Dynasty ‘shi go wen’ and ‘jin wen’ to
consolidate and simplify the language. This is how ‘xiao zhuan’
script was created. Please take a
look at these ‘xiao zhuan’ characters. This is an example of a carved stone
inscription from the Qin Dynasty. ‘Xiao zhuan’
script is relatively long and graceful. We can see that the strokes
are fairly identical and consistent. Both the thickness of the strokes and the distance between
the characters is also consistent. This is especially true
in the ‘Yi Shan’ tablet carvings. We can see that these strokes
are almost ‘heng’ and ‘ shu’ strokes, but they
are still circular and semi-circular. The script style is rather elongated. The
thickness of the strokes and the size
of the characters is really consistent. This
style has been called ‘yu zhu zhuan.’ ‘Yu zhu’ refers to
chopsticks made of jade. It is almost
like chopsticks, one after another, which is how it came to have this name. Look. This is another
style of Qin Dynasty ‘xiao zhuan.’ Because
the systems of weights and measures were also integrated, these
tools to measure weight and volume, like this
mold, were often carved with characters. These were
often carved in the ‘xiao zhuan’ style. Like this one. Here is a picture. This is done
by a calligrapher named Wu Changshuo who copied
writing from a Qin volume measure. We can
see the graceful ‘xiao zhuan’ style. The ‘xiao
zhuan’ writing was popularized and
used widely during the Qin Dynasty Later, its status declined and it was
replaced by ‘Ii shu’ style calligraphy. However, because
the ‘xiao zhuan’ script is so graceful, calligraphers
continue to hold it in high regard. In addition,
the strokes of the ‘xiao zhuan’ script
can sometimes fluctuate and change. They can be curved which makes it a
primary script used for carving seals. Take
a look. This is a Qin era eaves tile. Before, we practiced
characters using paperprinted
with an eaves-tile design. An eaves-tile is what we use at the
highest point of the roof on a house. It
is used to hold the roof tiles in place On the front of the eaves-tile, there
are designs of animals like the tiger. Or there are characters
carved directly onto the tile. These are Qin era ‘xiao zhuan’
style characters: ‘Qian qiu wan
sui’, meaning throughout the ages. In short, there are many styles
of Qin Dynasty ‘xiao zhuan’ script. Although it
was superseded by later scripts, ‘xiao
zhuan’ continues to hold our interest. That is all for today’s introduction. Next, I will pick up the
brush and practice some characters. Today I am going
to introduce a ‘xiao zhuan’ style work done by a
famous calligrapher named Deng Shiru. Let’s
choose a few characters to talk about. Pay attention while I
am writing and explaining the strokes. Take a look at this character. We have written it before; ‘ping’
from ‘ping an’ meaning safe and sound. Do you still remember? This
time the style will change slightly. The strokes are larger and straighter. Pay attention as you use the brush. We can see strokes
made using the ‘zhong feng’ This ‘zhong feng’
refers to the tip of the brush stroke as it is hidden inside the stroke when
the brush makes contact with the paper. Let’s write that again. Look. The
tip of the brush is inside the stroke. If this
is not clear, we can use this method to enlarge
the stroke to see the structure clearly. The tip of the brush follows
along the middle line of the stroke. This
is what we call a ‘zhong feng’ stroke. I will show
you a ‘ce feng’ stroke for comparison. What is this? The character
can still be written the same. But, the tip of the brush
is aligned at the top of the stroke, parallel to the top line
of the entire stroke. Do you see it? The tip is at the top. Although this is a ‘heng’
stroke, it is called a ‘ce feng.’ That is to say, from
start to finish, this entire stroke
is written using the side of the brush. We can see the remarkable
results of these two strokes; the ‘zhong feng’ and the ‘ce feng.’ ‘Zhong feng’
strokes have a very strong feeling. It almost seems round
and has a very pronounced texture. The ‘ce feng’
stroke looks very flat, like a plane. As we practice ‘zhuan shu’ styles,
we generally use ‘zhong feng’ strokes. The ‘shu’
strokes are the same. Take a look. The tip of the brush
is also inside the overall stroke. If we want
to write a ‘shu’ stroke using a ‘ce
feng’ style with the side of the brush, we can see it looks like a flat slice.
There is no feeling of substance. Let’s write ‘ping.’ ‘Zhong feng’ stroke. ‘Dian.’
The ‘dian’ stroke has motion as well. Do not
just dab the brush. Lift the brush. Return stroke. We can return a bit at the end. This character
turned out to look strong and full. Now let’s
continue writing; ‘feng’ meaning wind. Look. This curve is quite round. Do not make it too sharp like this. Turn one corner at a time like this. This is too sharp. There
are almost no sharp turns or changes. Usually, the strokes are ‘heng’, ‘shu’, circles, and semi-circles. There
are rarely sharp direction changes. Only after the emergence of ‘Ii
shu’did sharp turning strokes appear. Make this turn naturally. As you are making the curves,
notice the ‘zhong feng’ strokes. Some people
rush the turns. They become ‘ce feng’
strokes using the side of the brush. You can go slowly in
order to allow the stroke to maintain the ‘zhong
feng’ quality from start to finish. Don’t do it like this. You
can see it becomes like a flat slice. This is the way to write it. Done. We still have some time
to make a complete presentable piece. Let’s
first write ‘long’ meaning dragon. I choose
this red eaves-tile design paper. Place the paper squarely on the table. If you want to place the paper
like this, it will not feel as good. The design is this
direction so we should write this way. When you are practicing
calligraphy, you have to pay
attention to more than just the words. You also have to notice the details. Please pay attention
to these ‘zhong feng’ strokes. No need to write quickly. Try to make the character
graceful and the strokes precise. If you
cannot quite master the curves here. Take it slowly. From the
start, make sure the tip of the brush
is in the center of the overall stroke. When some students reach this point,
I notice them curve, curve, curve. It seems like a lot of effort. Just
break it off and continue to write. Notice these strokes. They are rather similar. Notice this has some variation. And, at the same
time, continue to pay attention to the
distance between the characters, etc. Do not write two characters
close together and one too far away. This way you can feel the intervals between
each character are evenly spaced. This
looks lovely. Ok. That is ‘long.’ I
will show you the ‘feng’ we just wrote. First,
write this rather easy ‘heng’ stroke. Sometime,
if you write this outside stroke first, there is not enough
space left to write the middle ‘heng.’ I suggest you
write the inside ‘heng’ stroke first, then continue
with the next stroke that surrounds it. Pay attention to
the curves. Watch as I use the brush. Ok. That character
is complete. Lastly, I want
to write ‘fu’ meaning happiness. During the New Year,
especially the Spring Festival, every family will
have couplets and hang a ‘fu’ character. If you can do calligraphy,
everyone will be asking for you. No
need to be stingy with the pen and ink; You can
write the ‘fu’ character for everyone. There are many ways to write ‘fu.’ Sometimes we see
‘bai fu’ meaning a hundred happiness,
or ‘bai shou’ meaning longevity. There
can be some variation in the strokes, sometimes more, sometimes
less, but basically it will be the same. This bottom portion can be circular
like this or it can be more square. This looks
like a fork. Actually it is a stroke. Ok. That is the
‘fu’ character. During the holidays,
you can hang this ‘fu’ upside down. In China, we often hang it upside down In Chinese, the phrase ‘happiness
is upside down’ sounds exactly
the same as ‘happiness has arrived’. That is all
for today’s lesson. See you next time.

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