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8 Strokes of Han Characters in Chinese Calligraphy

Chinese characters “yong yuan”, meaning forever or eternity, by Peter Lau (credit: Windermere Sun-Susan Sun Nunamaker)

Chinese character “how”, meaning good, in multiple strokes, by Peter Lau (credit: Windermere Sun-Susan Sun Nunamaker)

Chinese character “how”, meaning good, completed in 1 stroke, by Peter Lau (credit: Windermere Sun-Susan Sun Nunamaker)

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Can you believe that at one summer (many summers ago), I actually used the practice of Chinese calligraphy as an alternative to having air conditioning? For some reason, the focused attention was able to help chase away the heat  in those summer eves in the University of Illinois at Urbana-Champaign dormitory building without AC. So, Chinese calligraphy  definitely have found a warm spot in my memory bank.

Last Sunday afternoon, I happened to be in Fashion Square Mall, YESS/Asia Trend office to drop off some business cards, and managed to have met the Senior Services Director Peter Lau (also the Chinese calligraphy instructor). As it turned out, Chinese calligraphy is taught every Sunday afternoon between 2:00-5:00 PM at the YESS/Asia Trend  (located at 3201 E. Colonial, Suite M-25, Orlando, FL, Fashion Square Mall, next to J.C.Penney). Interested students of Chinese calligraphy may make donation or bring $5 for each session. It is a great way to learn about Chinese language,  culture, and better discipline for one’s mind through focused attention.

Traditionally, the bulk of the study of calligraphy is composed of copying strictly exemplary works from the apprentice’s master or from reputed calligraphers, thus learning them by rote. The master showing the ‘right way’ to draw items, which the apprentice have to copy strictly, continuously, until the move becomes instinctive and the copy perfect. Deviation from the model is seen as a failure. Competency in a particular style often requires many years of practice. Correct strokes, stroke order, character structure, balance, and rhythm are essential in calligraphy. A student would also develop their skills in traditional Chinese arts, as familiarity and ability in the arts contributes to their calligraphy.

Chinese character “yong”, meaning forever or eternity, by Peter Lau (credit: Windermere Sun-Susan Sun Nunamaker)

for its abundance of different kinds of strokes and difficulty in construction. The Eight Principles of Yong refers to the eight different strokes in the character, which some argue summarizes the different strokes in regular script.

8 Strokes of Han Characters in Chinese Calligraphy

How the brush is held depends on the calligrapher and which calligraphic genre is practiced. Commonly, the brush is held vertically straight gripped between the thumb and middle finger. The index finger lightly touches the upper part of the shaft of the brush (stabilizing it) while the ring and little fingers tuck under the bottom of the shaft, leaving a space inside the palm. Alternatively, the brush is held in the right hand between the thumb and the index finger, very much like a Western pen. A calligrapher may change his or her grip depending on the style and script. For example, a calligrapher may grip higher for cursive and lower for regular script.

In Japan, smaller pieces of Japanese calligraphy are traditionally written while in seiza. In modern times, however, writers frequently practice calligraphy seated on a chair at a table. Larger pieces may be written while standing; in this case the paper is usually placed directly on the floor, but some calligraphers use an easel.

Basic calligraphy instruction is part of the regular school curriculum in both China and Japan and specialized programs of study exist at the higher education level in China, Korea, and Japan. In contemporary times, debate emerged on the limits of this copyist tradition within the modern art scenes, where innovation is the rule, while changing lifestyles, tools, and colors are also influencing new waves of masters.

Chinese calligraphy is being promoted in Chinese schools to counter Character amnesia brought on by technology usage.

In the video above, I was particularly intrigued by the sustainability of the type of paper being used by Peter Lau to practice Chinese calligraphy. It is definitely aligning with the spirit of recycle and reuse of our 21st century’s concern for the future of our planet. It is also easy to understand the orderliness of this ancient civilization, deeply rooted in so many ways, including its art form of practice of Chinese calligraphy.

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