Abstract - Revised

This is in response to a question about what my thesis is:

In this thesis, the Chinese writing system: from tools, technique, movement patterns to compositional tendencies across the five calligraphic styles are analyzed using line drawings, notations, video, and stop action frame grabs. The line is the fundamental component of Chinese brush calligraphy. It is an impression left by a brush moving rhythmically over an absorbent white paper. The hand, brush, ink and paper interact in three dimensions: the x, y, and z-coordinates. Each Chinese character is a stand alone graphic inscribed within an imaginary square. The hand moves circuitously over one spot, the lines are strategically placed in a predetermined order, building a Chinese word. Calligraphy is a spatial practice. A calligrapher’s spatial sensibility combines graphic knowledge with kinetics. Movement and time are important themes in Chinese art, there is no single point of view, only elements arranged serially unfolding localized vignettes. The stroke and the paper represent the figure and the ground - a graphic space in the x-y direction, designed to convey dynamism. ‘Change’ is a transfer of states and brush technique shifts from one gesture to another. There are rhythmic variations within a calligraphic line. Two types of movement: the broad sweep and the pause exists simultaneously, causing friction between momentum and inertia. The distance between pauses represents time and the various stroke widths indicate speed. This reciprocity of opposite conditions is best defined as ‘shi,’ a term used in numerous strategic manuals. ‘Shi’ represents a dynamic logic, where a position is defined by the most advantageous outcome. A brush is flexible, ensuring that surface contact between it and the paper are in constant flux. The hand pushes the brush into the paper, from an upright stance on the z-axis, and the paper responds, soaking up the ink. The harder the hand pushes, the darker the stroke. The stroke is a measurable trace of a hand’s force and direction of movement. But the Chinese character is also a descriptor of historic time. Brush calligraphy is a two thousand year old practice, and Chinese characters in its present form incorporates all past forms and techniques. Style choices reflect the purpose of the work and the artist’s personal preferences. Furthermore, various environmental and emotional factors influence the piece’s overall effect. A piece of calligraphy is a route map showing the hand and brush in motion and a relic from a moment of creativity at a specific time and place in history.