New Compendium of Running Script Composition -- Horizontal Scrolls, Couplets, and Fan Surfaces

Author: Yang Zaichun
Publisher:
Publish Date: 2005-11-07
Features: Regarding the issue of calligraphic composition, I would like to share three more opinions:
First, Huang Xixian of the Song Dynasty wrote in On Learning Calligraphy: "In the form of a character, slow is inferior to quick, open is inferior to dense, slanted is inferior to upright, turbid is inferior to clear. The left should be heavy, and the right should be light. The brushwork of the ancients all followed this principle." A successful calligraphic work should adhere to this path. I have always believed that the foundation of a calligraphic piece is first to be pleasing to the eye, offering aesthetic enjoyment. "When writing with intention, it becomes stagnant; when writing freely, it becomes slippery." I often see some calligraphic works that neglect brushwork and composition, acting purely on whim and desire, claiming to be writing from the heart and expressing emotions. Tang Dynasty’s Zhang Jingxuan wrote in Collected Sayings, Volume One: On Zhang Jingxuan: "When writing according to the rules, acting on whim and desire, they say it is writing from the heart and expressing emotions. Three words are managed by two, and so on for a line; one line manages two lines, and two lines manage three lines, and so on for a sheet." This argument is very profound. Calligraphic composition is the relationship of mutual correspondence,, and harmonious coordination between characters and between lines. It cannot be done arbitrarily; only through repeated reflection and consideration from multiple angles can the best result be achieved.
Second, Lin Sanzhi, a modern calligrapher, wrote a poem: "Calligraphy originates from wisdom’s roots, should be understood from deep within. Heaven’s inspiration spills into a pool of water, every drop becomes the trace of a leaking roof." Lin emphasized the "soul" and "every drop." Do we pay attention to these two aspects when creating calligraphy? Young friends often neglect to focus deeply and pay little attention to the details. Wang Xizhi, the Sage of Calligraphy, wrote in After Wang Wenfu: "Before writing, one must grind ink, concentrate the mind, and anticipate the size, posture, and balance of the characters. Ensure the veins and nerves connect, with the intent before the brush, then begin writing." The Sage of Calligraphy even said, "With intent before the brush, then begin writing"—how much more so should we! The process of crafting calligraphic composition is arduous and solitary; it cannot be done hastily. "When preparing to write, one should withdraw the eyes and ears, concentrate the mind, and maintain inner peace, then one can achieve the sublime." Sun Guoting’s Book Spectrum further emphasizes the importance of the environment and mood when writing.
Third, I would like to exchange thoughts on learning methods with my friends. Ouyang Xiu of the Song Dynasty wrote in Testing the Brush: "Alternate days learning cursive script, the next days learning regular script. Combine regular script with running script, and cursive script with regular script. If one does not grow weary in ten years, they will surely achieve fame." Following this path has benefited me greatly. Over the decades of learning calligraphy, I have taken a step from the realm of necessity to the realm of freedom. Our ancient calligraphers—Wang Xizhi, Yan Zhenqing, Huang Tingjian, Zhao Mengfu, Wen Zhengming, and Dong Qichang—excelled in multiple scripts while also specializing in one. Therefore, I suggest that my friends might consider exploring various scripts, reading widely, observing diligently, and practicing frequently. Then, based on their strengths, they can integrate the wisdom of the sages and finally express their unique personalities. It is not advisable to form one’s style too early; poor nourishment leads to stunted growth.