Calligraphy Brush Script Tutorial (Includes Disc)

Author: Tian Yingzhang
Publisher:
Publishing Date: 2006-03-01
Features:
Before the publication of "Tian Yingzhang's Standard Calligraphy Teaching Manual," Yingzhang asked me to write a preface. I felt quite reluctant, as I know very little about calligraphy, and feared I might say something inappropriate, only to embarrass everyone. Then it occurred to me that I often engage in deep conversations with Yingzhang during lunch, discussing everything from history and culture to human emotions, music, chess, calligraphy, and painting—covering all aspects of art and life. Moreover, whenever someone comes to him for a calligraphy piece, he always takes the time to watch him ink his brush, which I find quite enjoyable. Although I dare not claim to write a proper preface, I decided to jot down some of my thoughts. I believe this is still acceptable.
Feng Zikai once wrote in an essay that a person of complete character is like a tripod, with truth, goodness, and beauty as its three legs. Truth and goodness give rise to beauty, and beauty gives birth to art. Whenever I admire Yingzhang's calligraphy, I am filled with a sense of artistic pleasure. I believe that only true art can move people, and art must be rooted in truth and goodness, which in turn must be tempered by beauty. If you randomly scribble a few words on a piece of paper, they may be truthful and good, but they lack beauty. Something that lacks beauty cannot be called art.
My little cat can climb onto the piano and produce various sounds, but it doesn’t create music. A painter’s palette may hold all the colors of the rainbow, but it doesn’t become a painting. Why? Because it lacks rhythm. Rhythm is the essence of art. Yingzhang’s calligraphy is considered art because it combines truth, goodness, and beauty with rhythm. The structure of his calligraphy, known as the interplay of strokes and composition, is crucial. Each stroke must be carefully placed, with cause and effect following in sequence, each stroke grounded in method and tradition. Large strokes should be scattered yet balanced, small strokes dense yet harmonious, straight strokes steady yet not rigid, and slanted strokes dynamic yet not chaotic. Everything must be stable and well-arranged, creating a sense of rhythm and beauty. When viewing such works, one cannot help but reflect on life and feel deeply moved.
As for how calligraphy creates beauty to reach a higher realm, I encourage you to study Yingzhang’s manual carefully—no further words are needed from me. I can’t recall which sage once said that in art, character comes before technique, and this is a clear truth. If someone lacks the virtue of promoting good and discarding evil but instead boasts of arrogance, even if they hold a thousand solo exhibitions or publish millions of books, it will all be in vain, leaving them with nothing but an empty reputation and the disdain of the world.
Yingzhang may not be the most intelligent, but he is extremely meticulous in his work. In his annual evaluation, I once summarized his character in two sentences: “Famous but not for fame, benefiting but not for profit.” He is ordinary but not shallow, humble but not weak. In art, he adheres to rules and principles, delves deep yet presents it simply, meticulous and natural. He avoids extravagance and flamboyance, instead embracing a grounded, refined, and classical approach. His works and character are widely admired and respected.
The impression that Yingzhang’s works and personality leave on people is inseparable from his upbringing in a scholarly family, where his father and older brothers taught him calligraphy, and his older brother Yunzhang competed with him in practicing the art. Their home is filled with countless calligraphy and painting masterpieces. He began studying calligraphy at the age of three and has continued to learn diligently for over 40 years, through seasons and years. Achieving this level of mastery is no small feat, but his spirit of being a “calligraphy enthusiast” deserves admiration!
The publication of this manual also owes great thanks to Liang Fengyan, Director of the Office of the China Calligraphy and Painting Talent Research Center, for their strong support. On behalf of the author and myself, I extend my gratitude here.
The above thoughts are purely personal reflections, not intended as a preface, but rather as an offering for your guidance. I am deeply humbled and apologize for any shortcomings.