Abstract: Chapter 15 Calligraphy Qianshen Bai, Qianshen BaiSearch for more papers by this author Qianshen Bai, Qianshen BaiSearch for more papers by this author Book Editor(s):Martin J. Powers, Martin J. PowersSearch for more papers by this authorKatherine R. Tsiang, Katherine R. TsiangSearch for more papers by this author First published: 09 October 2015 https://doi.org/10.1002/9781118885215.ch15Citations: 1 AboutPDFPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShareShare a linkShare onFacebookTwitterLinked InRedditWechat Summary From reliable historical documents one can learn that, by the first century during Han times, calligraphy already was regarded as a fine art. Good calligraphy was always necessary for success in the state examinations. Diaries from the late Qing demonstrate how frequently and broadly calligraphy was used in social life. The materials used by calligraphers and painters were in many respects the same: paper, silk, brush, and ink, except that painters might also use pigments. When children began the study of calligraphy, their parents or teachers would select canonical works for them to imitate. Many Chinese literati maintain lifelong dialogs with classical masters through the study and re-performance of their works. For them, rewriting classical masterpieces was a normal activity of daily life. The chapter also clarifies the difference between script types (including their subtypes), or ti , and personal styles ( gediao , fengyun ) in Chinese calligraphy and their relationship to text. Citing Literature A Companion to Chinese Art RelatedInformation
Publication Year: 2015
Publication Date: 2015-10-09
Language: en
Type: other
Indexed In: ['crossref']
Access and Citation
Cited By Count: 2
AI Researcher Chatbot
Get quick answers to your questions about the article from our AI researcher chatbot