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HouseOfTreasures 2

Articles Of Interest On Calligraphy

I am extracting sentences from articles that I had read and believe I would like coming back to.  Saving it elsewhere would just mean another lost link , gone forever.

“The first and second harmonies are being happy in spirit and free from worries and having a rested mind and body. He also states that to be able to write powerful and beautiful calligraphy, all of the five harmonies must coexist together, simultaneously. From personal experience as a calligrapher, when the mood is right, the weather is pleasant, and the Four Treasures (文房四宝, ぶんぼう しほう, bunbō shihō) are a perfect match, there is a sudden desire to write, the heart soars, and the brush glides over the paper surface like a wild dragon in clouds. An exploration of the connection of this theory to the epistles of Wang Xizhi follows. “

Source : http://beyond-calligraphy.com/2012/06/18/woi-wang_xizhi-p4/


” Ming dynasty (明朝, 1368 – 1644) calligraphers praised Xīzhī’s calligraphy for its elegance, style, form and sentiment, but most importantly for its grace. They often remarked that Xīzhī’s style was effortless, yet rich in spirit, charming yet not shallow. “

Source : http://beyond-calligraphy.com/2011/12/01/woi-wang_xizhi-p1/ 


” Emperor Tàizōng ordered that upon his death the original of the Preface to the Poems Composed at the Orchid Pavilion was to be buried with him. It was the last time this masterpiece calligraphy was ever seen. “

Source : http://beyond-calligraphy.com/2011/12/01/woi-wang_xizhi-p1/ 



” Wáng Xīzhī’s powerful technique penetrated the table “three millimetres into the wood.” Today, the famous phrase 入木三分 (Chinese: rù mù sān fēn, lit. “three units into the wood”) is a common idiom used to define something powerful and profound. It also describes a calligraphy written in a forceful manner, penetrating both the paper, and the hearts of the viewer.

Source : http://beyond-calligraphy.com/2011/12/06/woi-wang_xizhi-p2/


Huang Yao’s unique Chinese calligraphy

“The Dictionary of Chinese Art” published in Shanghai in 1989 and Taiwan in 2001 described Huang Yao (1917 – 1987) as a contemporary Chinese artist, famous for his cartoon characters (Niu Bizi) in China, as well as his book published in 1967 on “The History of Chinese in Malaysia and Singapore”1. Huang Yao had remarked that he was by profession a journalist, by accident a cartoonist, and he painted all his life….more

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