Kapiolani
Community College Diamond Journal 2003Fall
Kapiolani
Community College
Diamond Journal 2003Fall
The Chinese calligraphy brush is similar to the brush used
for watercolor painting; it has a finer tip suitable for dealing with a wide
range
of subjects and for producing the variations in line required by different styles.
Since the materials used for calligraphy and painting are essentially the
same,
developments in calligraphic styles and techniques can also be used in painting.
The writing brush is composed of the body and the tip. The body can be made
from
bamboo, wood, lacquer, and porcelain. In rare cases, the body may also be made
from precious materials including pearl inlay, ivory and jade. The tip of
the
brush can be made from white goat’s hair, black rabbit’s hair, and
yellow weasel’s hare. On the basis of the function of the tip, the brushes
are classified into three groups: a) hard, b) soft and c) mix.
Depending on the
selection of the brush, a calligrapher can write the various fonts and size.
The
tools used to write Chinese calligraphy includes: a) brush, b) ink-stick, c)
paper, and d) ink stone. I consider the brush to be the most important tool in
writing
Chinese calligraphy; without the brush, the texture and stroke necessary to form
a word would not be possible.
To understand and appreciate the importance of the brush, we begin with a synopsis
of the history of Chinese calligraphy. According to an on-line article written
by Francis Wood, the written Chinese word can be dated back over 4,000 years
old
based on legendary tales and archaeological studies (1). During the many stages
of their evolution, Chinese characters and calligraphy have been treated as an
art, and well into the modern era they have also been considered to have mystical
powers. As Wood states, “In China, the written word has long been regarded
as powerful, even magical: during the Ming dynasty (1368-1644), good calligraphy
fetched higher prices than painting.” Calligraphy is picture oriented and
is very unique in structure and tools.
When I was six years old, my mother and father thought I was an overly active
little girl. On the advice of my grandfather, my parents decided to enroll me
in a Chinese calligraphy class. I practiced diligently daily for the first three
years of class and frequently thereafter for the next seven years of my teenage
years. I consider my ability to write Chinese calligraphy to be a precious skill
which I continue to practice today.
At first my brush was not very friendly to me. In some way, I considered the
brush
to be a bully, and I wanted to conquer it. At the beginning the brush wouldn’t
cooperate. It seemed to have a mind of its own, going anywhere on the paper except
where I wanted it to.
Everyday for a whole month, I practiced how to write one
single horizontal stroke. Word by word, stroke by stroke, and month by month
I
practiced, until I mastered my brush. On my command, my brush has now become
a communicator of my thoughts and wishes. I have learned to look upon my brush
as
more than a writing instrument; it has become more like a silent friend over
the years. True to its form, my brush has allowed me to convey my emotion in
artistic
expression accurately and reliably for many years.
After the initial five years of writing Chinese calligraphy, I no longer view
my brush as a bully which caused me much pain in every joint of my hand and arm.
I look upon my brush with pride and respect for its simplicity and functionality.
Friends, family, teachers and associates have recognized and complimented my
artistic
excellence in Chinese calligraphy writing. My parents were very proud of my second
place finish when I competed against other kids my age at the national level
in
1988.
In the early years of practicing to write Chinese calligraphy with my brush,
I learned the importance of having a clean and flexible brush in order to achieve
accuracy and consistency in my writing. After each writing session, I clean my
brush by gently swishing it around in a jar of cool water. I take care not to
use warm water; it will dry out the natural oils in the brush hairs and may dissolve
the glue that holds the hairs inside the handle. After shaking any excess water
from the brush, I dress the brush by wiping it against a paper towel or between
my fingers to bring it to its original shape. Finally, I store my brush horizontally
in a dry, dark and cool place.
To this day, I continue to practice my Chinese calligraphy writing. On special
occasions, I write poems and characters as heart-felt gifts for close friends
and family. Without my Chinese calligraphy brush, I would feel deprived of a
critical
form of communication, one that expresses the traditional Chinese language in
the form it was meant to convey.
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