This course is an intensive studio-based program designed to acquaint students with Chinese calligraphy as a traditional and modern art form through practical mastery of its techniques. As the study of calligraphy also includes the history, meaning and evolution of Chinese characters, the course provides considerable support to Chinese language study for students at all levels. Students begin by being introduced to the traditional “four treasures of the study”: the writing brush, the ink stick, paper, and the ink stone. Having learned to prepare their own ink, they are taught how to hold the brush, and how to form the basic strokes. Students initially study Kai Shu, the modern official script, learning the strokes of one of the Kai Shu master works. Students will also be introduced to Li Shu (clerical script), Zhuan Shu (seal script), to the running hand (xing) and the cursive hand (cao.) Students will learn to imitate the scripts of eminent calligraphers. If they make sufficient progress, by the end of the course they will begin actual writing training, writing passages from one word to four words in length. The course will culminate in an exhibit of student work.
Prerequisites:
None
Method of presentation:
During this course, students will work in a studio setting learning brush writing of characters through a combination of demonstration, individual coaching, and practice. They will engage in exercises designed to familiarize them with the materials and the use of brushes, learning the basic strokes that make up Chinese characters and how to write them. Students will be expected to prepare for class from an illustrated calligraphy book showing brush movements that form particular strokes. In class, they will use the Lin Mo method, first tracing characters and writing them inside the lines, then writing them freehand. Finally, the character is compared with the original and the process repeated until the student is satisfied. During the course, students will have opportunities to meet master calligraphers, to discuss the philosophical aspects of the practice of calligraphy and its central significance to Chinese culture. Students will also be taken on field study visits to view the exhibited works of eminent calligraphers.
ADDITIONAL RESOURCES:
Students will be provided with materials, consisting of the following:
felt pad
assorted brushes ink stick
ink stone
beaker for water
xuan paper
an illustrated calligraphy book
a seal and ink pad
Required work and form of assessment:
This course will be assessed on the basis of the students’ application and participation during class (20%); a mid-term test on assigned readings (10%); the review of a portfolio of works made during the semester (30%); and an individual project based on the specific preferences of each student with respect to schools and styles of calligraphy (30%). For this project, each student will select particular works of a well-known calligrapher. If possible, this should be a calligrapher whose original works can be viewed in a museum or gallery. The student will present a critique of the selected works, discussing the points that have made the calligrapher’s work renowned. He/she will also provide a brief biography of the calligrapher, commenting on the calligrapher’s philosophical outlook, how the practice of calligraphy related to the calligrapher’s life and to the culture of the period. The student will then demonstrate through his/her own work what has been learned from this particular calligrapher. Finally, the student will write a three-page paper to be submitted with the presentation that reflects on the influence of classical calligraphers on current practitioners of the art and makes reference to three or more of the required readings (10%). Students should expect some homework exercises and spontaneous critiques about specific issues when the necessity arises.
content:
Calligraphy is understood in China as the art of writing a good hand with a Chinese brush and ink and the study of the rules of this art. In the history of Chinese art, calligraphy has always been accorded anequal status with painting. Great attention is also paid today to its development by holding exhibitions of ancient and contemporary works and by organizing competitions among youngsters and people from various walks of life. To become good at calligraphy requires years of patient practice, concentration and thought.
Session One
An introduction between students and teacher, a discussion of the course and the ideas to be studied, an explanation of the expectations of the professor with regard to procedure, a short demonstration of materials, a brief investigation of the students’ expectations, and a description of the requirements for the individual project. The professor will then give an introductory lecture on Chinese culture and calligraphy, followed by a demonstration of he implements and materials for writing.
Session Two
An introduction to the main features of the different Chinese scripts. Demonstration and student practice with using the different implements and materials. The structures of Chinese scripts. The basic radicals of Chinese scripts and how to write them.
Session Three
Tips and practice on use of the writing brush and ink.
Session Four
Introduction to the features of lines in calligraphy.
Session Five
Learning the method and practicing to imitate the scripts of well-known calligraphers through copying. Field Study: Students visit a calligraphy exhibition by a traditional calligrapher or calligraphers.
Session Six
Imitating and copying drills. Training and teaching in basic techniques.
Session Seven
Imitating and copying drills. Individual coaching during class followed by group critique. Field Study: Students visit a calligraphy exhibition by a modern calligrapher or calligraphers.
Session Eight
Imitating and copying drills. Individual coaching during class followed by group critique.
Session Nine
Imitating and copying drills. Individual coaching during class followed by group critique.
Sessions Ten, Eleven, and Twelve
As the teaching process will largely depend on the progress made by the students and hence is unpredictable, the content of these classes will be decided later. If students have made great progress with all previous work, the teacher will try to lead them into actual writing training during which they will write passages of from one to four words in length. During Session Twelve, individual projects and portfolios are due. Final critique. Students and teachers together select works for student exhibition.
Required readings:
The readings for this course are intended to provide background for students on traditional and modern Chinese calligraphy and the place of calligraphy in Chinese culture. Some books include illustrations so that students and teachers can view together and discuss works that students cannot see in museums or galleries. This is a practical course and most of the time during class will be spent writing characters. However, the readings are vitally important in assisting students to acquire a breadth of knowledge of the subject matter. A course reader including all required readings will be available at the beginning of the course. Books with illustrations showing important works of calligraphy will be held on reserve for students in the course.
In English:
Bai Qianshen. Fu Shan’s World: The Transformation of Chinese Calligraphy in the Seventeenth Century. (Harvard East Asian Monographs, No. 220).
Bjorksten, Johan. Learn to Write Chinese Characters. (Yale Language Series, Yale UP, 1994). Chang Chung-Ho, et al. Two Chinese Treatises on Calligraphy. (Yale UP, 1995).
Fazzioli, Edoardo. Chinese Calligraphy: From Pictograph to Ideogram: The History of 214 Essential
Chinese/Japanese Characters. (Abbeville P, 1987)
Harbaugh, Rick. Chinese Characters: A Genealogy and Dictionary. (Zhongwen.com, 1998)
Kwo Da-Wei. Chinese Brushwork in Calligraphy and Painting: Its History, Aesthetics and Techniques.(Dover P, 1990)
Sullivan, Michael. The Three Perfections: Chinese Painting, Poetry, and Calligraphy. (George Braziller P,
1999)
Yee Chiang. Chinese Calligraphy: An Introduction to its Aesthetic and Technique. (Harvard UP, 1973) Yu-Ho Tseng. A History of Chinese Calligraphy. (Chinese UP, 1993)
In Chinese:
《九成宫》, Jiuchenggong (The Calligraphy Style of Ouyang Shun)
《醴泉铭》Liquan Ming, The Epigraphy of Liquan County
This course is an intensive studio-based program designed to acquaint students with Chinese calligraphy as a traditional and modern art form through practical mastery of its techniques. As the study of calligraphy also includes the history, meaning and evolution of Chinese characters, the course provides considerable support to Chinese language study for students at all levels. Students begin by being introduced to the traditional “four treasures of the study”: the writing brush, the ink stick, paper, and the ink stone. Having learned to prepare their own ink, they are taught how to hold the brush, and how to form the basic strokes. Students initially study Kai Shu, the modern official script, learning the strokes of one of the Kai Shu master works. Students will also be introduced to Li Shu (clerical script), Zhuan Shu (seal script), to the running hand (xing) and the cursive hand (cao.) Students will learn to imitate the scripts of eminent calligraphers. If they make sufficient progress, by the end of the course they will begin actual writing training, writing passages from one word to four words in length. The course will culminate in an exhibit of student work.
None
During this course, students will work in a studio setting learning brush writing of characters through a combination of demonstration, individual coaching, and practice. They will engage in exercises designed to familiarize them with the materials and the use of brushes, learning the basic strokes that make up Chinese characters and how to write them. Students will be expected to prepare for class from an illustrated calligraphy book showing brush movements that form particular strokes. In class, they will use the Lin Mo method, first tracing characters and writing them inside the lines, then writing them freehand. Finally, the character is compared with the original and the process repeated until the student is satisfied. During the course, students will have opportunities to meet master calligraphers, to discuss the philosophical aspects of the practice of calligraphy and its central significance to Chinese culture. Students will also be taken on field study visits to view the exhibited works of eminent calligraphers.
ADDITIONAL RESOURCES:
Students will be provided with materials, consisting of the following:
felt pad
assorted brushes ink stick
ink stone
beaker for water
xuan paper
an illustrated calligraphy book
a seal and ink pad
This course will be assessed on the basis of the students’ application and participation during class (20%); a mid-term test on assigned readings (10%); the review of a portfolio of works made during the semester (30%); and an individual project based on the specific preferences of each student with respect to schools and styles of calligraphy (30%). For this project, each student will select particular works of a well-known calligrapher. If possible, this should be a calligrapher whose original works can be viewed in a museum or gallery. The student will present a critique of the selected works, discussing the points that have made the calligrapher’s work renowned. He/she will also provide a brief biography of the calligrapher, commenting on the calligrapher’s philosophical outlook, how the practice of calligraphy related to the calligrapher’s life and to the culture of the period. The student will then demonstrate through his/her own work what has been learned from this particular calligrapher. Finally, the student will write a three-page paper to be submitted with the presentation that reflects on the influence of classical calligraphers on current practitioners of the art and makes reference to three or more of the required readings (10%). Students should expect some homework exercises and spontaneous critiques about specific issues when the necessity arises.
Calligraphy is understood in China as the art of writing a good hand with a Chinese brush and ink and the study of the rules of this art. In the history of Chinese art, calligraphy has always been accorded anequal status with painting. Great attention is also paid today to its development by holding exhibitions of ancient and contemporary works and by organizing competitions among youngsters and people from various walks of life. To become good at calligraphy requires years of patient practice, concentration and thought.
Session One
An introduction between students and teacher, a discussion of the course and the ideas to be studied, an explanation of the expectations of the professor with regard to procedure, a short demonstration of materials, a brief investigation of the students’ expectations, and a description of the requirements for the individual project. The professor will then give an introductory lecture on Chinese culture and calligraphy, followed by a demonstration of he implements and materials for writing.
Session Two
An introduction to the main features of the different Chinese scripts. Demonstration and student practice with using the different implements and materials. The structures of Chinese scripts. The basic radicals of Chinese scripts and how to write them.
Session Three
Tips and practice on use of the writing brush and ink.
Session Four
Introduction to the features of lines in calligraphy.
Session Five
Learning the method and practicing to imitate the scripts of well-known calligraphers through copying. Field Study: Students visit a calligraphy exhibition by a traditional calligrapher or calligraphers.
Session Six
Imitating and copying drills. Training and teaching in basic techniques.
Session Seven
Imitating and copying drills. Individual coaching during class followed by group critique. Field Study: Students visit a calligraphy exhibition by a modern calligrapher or calligraphers.
Session Eight
Imitating and copying drills. Individual coaching during class followed by group critique.
Session Nine
Imitating and copying drills. Individual coaching during class followed by group critique.
Sessions Ten, Eleven, and Twelve
As the teaching process will largely depend on the progress made by the students and hence is unpredictable, the content of these classes will be decided later. If students have made great progress with all previous work, the teacher will try to lead them into actual writing training during which they will write passages of from one to four words in length. During Session Twelve, individual projects and portfolios are due. Final critique. Students and teachers together select works for student exhibition.
The readings for this course are intended to provide background for students on traditional and modern Chinese calligraphy and the place of calligraphy in Chinese culture. Some books include illustrations so that students and teachers can view together and discuss works that students cannot see in museums or galleries. This is a practical course and most of the time during class will be spent writing characters. However, the readings are vitally important in assisting students to acquire a breadth of knowledge of the subject matter. A course reader including all required readings will be available at the beginning of the course. Books with illustrations showing important works of calligraphy will be held on reserve for students in the course.
In English:
Bai Qianshen. Fu Shan’s World: The Transformation of Chinese Calligraphy in the Seventeenth Century. (Harvard East Asian Monographs, No. 220).
Bjorksten, Johan. Learn to Write Chinese Characters. (Yale Language Series, Yale UP, 1994). Chang Chung-Ho, et al. Two Chinese Treatises on Calligraphy. (Yale UP, 1995).
Fazzioli, Edoardo. Chinese Calligraphy: From Pictograph to Ideogram: The History of 214 Essential
Chinese/Japanese Characters. (Abbeville P, 1987)
Harbaugh, Rick. Chinese Characters: A Genealogy and Dictionary. (Zhongwen.com, 1998)
Kwo Da-Wei. Chinese Brushwork in Calligraphy and Painting: Its History, Aesthetics and Techniques.(Dover P, 1990)
Sullivan, Michael. The Three Perfections: Chinese Painting, Poetry, and Calligraphy. (George Braziller P,
1999)
Yee Chiang. Chinese Calligraphy: An Introduction to its Aesthetic and Technique. (Harvard UP, 1973) Yu-Ho Tseng. A History of Chinese Calligraphy. (Chinese UP, 1993)
In Chinese:
《九成宫》, Jiuchenggong (The Calligraphy Style of Ouyang Shun)
《醴泉铭》Liquan Ming, The Epigraphy of Liquan County