In a piece of running script calligraphy, various changes are always employed: the size of the characters varies, the posture is upright or slanted, the interaction between characters is responsive, the spacing and density of lines create a balance of reality and illusion, the weight and speed of the brush strokes, and the strength and … Read more
The concept of void and substance runs throughout calligraphy; without void and substance, there is no contradiction, just as a drama without conflict becomes tedious and uninspiring. The structure of characters requires both void and substance, and the layout must also embody this principle. It is important to note that we strive to draw insights … Read more
The handling of 虚实 (xu shi) (void and reality) runs throughout calligraphy. Without 虚实 (xu shi), there is no contradiction, just as a drama without conflict becomes dull and uninspiring. The structure of characters requires 虚实 (xu shi), and the composition must also embody 虚实 (xu shi). It is important to note that we strive … Read more
This class breaks down The weather is getting cooler, and with less irritability, one can quietly read and practice calligraphy. Recently, I seem to have gained some insights into ‘虚’ (Xu) and ‘实’ (Shi). This week, let’s discuss ‘虚’ and ‘实’. ‘虚’ is a large mound. The Kunlun mound is referred to as Kunlun Xu. … Read more