THE
AESTHETICS
ALI VE
oN
oF
CHARACTERS
PAP E R
What makes a Chinese character beautiful? Why do we say that one person writes attractive characters and another ugly ones? Since early times, volume after volume has been written on the techniques and materials of writing, the historical development of characters, and, perhaps more than anything else, the aesthetics of calligraphy. I have divided this topic of aesthetics into two parts, for certain ideals can be appreciated only after learning the basics of writing. But even before you take pen in hand, it is important to discuss how to approach the art of writing. Let me once more point out, however, that the principal object of this book is to teach you ordinary handwriting, rather than to turn you into an artist. Writing with speed and accuracy is more valuable a skill than making pretty characters. Fortunately, these two objectives tend to merge: the more elegantly you form your characters, the faster you will (eventually) write. When you have learned to appreciate the beauty of the characters, you will also find them easier to memorize. Figures 12 to 16, along with some earlier examples, indicate the scope and variation of Chinese calligraphy. The elegant characters of Emperor Huizong in figure 12 conjure up the image of reeds on the shoreline of a quiet lakethe slender strokes bent by the night breeze rustle in the still twilight. Compare this refined atmosphere to the self-conscious, almost rebellious calligraphy in figure 13. The characters in the upper right are bouncing down the paper, possibly on their way to the cocktail party at the bottom of the page. 19