It is said that the Chinese calligraphy is analogous to both music and building architecture. The brushwork takes shape in rhythmic movement that reflects the calligrapher’s mental flow. The Chinese calligraphy also reflects the harmonious balance of lines/strokes that form the Chinese words and the empty space, or the harmony of the occupied and unoccupied spaces.
The dynamic balance of the brushwork and the harmony it creates should be appreciated in a spatial-temporal context as the movement of the brush introduces a temporal dimension into calligraphy. The aspect of the Chinese calligraphy is most apparent in the cursive style of writing.
However, the emphasis on the temporal dimension should not result in making the words illegible. This was what happened to Prime Minister Zhang during the Song dynasty.
It is recorded that PM Zhang enjoyed writing in the cursive style but his handwriting was too illegible for recognition. All his friends laughed at him but he didn’t care. One day he got a sentence he liked, so he quickly noted it down with his brush. The paper was filled with lively cursive characters. He asked his nephew to copy it down. While transcribing it, his nephew came to an illegible character and stopped at a loss. He showed the paper to his uncle and asked, ‘What is the word?’ The PM stared at it for a while, also failing to figure it out. He scolded his nephew, ‘Why did you ask me earlier before I forgot it?’
.
有人说，中国书法可比拟音乐与建筑。毛笔在有节奏的运行中反映了书法家的精神流动。中国书法也反映形成汉字的笔画与空间之间的谐和，或实与虚的谐和。
毛笔笔画的动力平衡，与它所造成的和谐应以时空关系来理解，因为毛笔的运行把时间面带人了书法。书法的这个状态在草书中最为明显。
可是，过于强调时间节奏，以致写成不可辨读的字是不可取的。这就发生在宋代张齐贤丞相的身上。
The dynamic balance of the brushwork and the harmony it creates should be appreciated in a spatial-temporal context as the movement of the brush introduces a temporal dimension into calligraphy. The aspect of the Chinese calligraphy is most apparent in the cursive style of writing.
However, the emphasis on the temporal dimension should not result in making the words illegible. This was what happened to Prime Minister Zhang during the Song dynasty.
It is recorded that PM Zhang enjoyed writing in the cursive style but his handwriting was too illegible for recognition. All his friends laughed at him but he didn’t care. One day he got a sentence he liked, so he quickly noted it down with his brush. The paper was filled with lively cursive characters. He asked his nephew to copy it down. While transcribing it, his nephew came to an illegible character and stopped at a loss. He showed the paper to his uncle and asked, ‘What is the word?’ The PM stared at it for a while, also failing to figure it out. He scolded his nephew, ‘Why did you ask me earlier before I forgot it?’
.
有人说，中国书法可比拟音乐与建筑。毛笔在有节奏的运行中反映了书法家的精神流动。中国书法也反映形成汉字的笔画与空间之间的谐和，或实与虚的谐和。
毛笔笔画的动力平衡，与它所造成的和谐应以时空关系来理解，因为毛笔的运行把时间面带人了书法。书法的这个状态在草书中最为明显。
可是，过于强调时间节奏，以致写成不可辨读的字是不可取的。这就发生在宋代张齐贤丞相的身上。
‘张丞相好草圣而不工，流辈皆讥笑之，丞相自若也。一日，得句，索笔绝书，满纸龙蛇飞动；使其侄录之，当波险处，侄惘然而止，执所书问曰：‘此何字？’丞相熟视久之，亦自不识，诟其侄曰：‘胡不早问，致我忘之。’
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