Caressing nature with a long handled brush

March 4, 2013

It would be difficult to talk about Chinese art without understanding Chinese calligraphy and its artistic inspiration. A painting has to convey an object, but a well-written character conveys only its beauty through line and structure.

In Shanghai, or Beijing, I’ve watched men with longed handled brushes, as seen in the first video, using water for ink and concrete for paper. With grace, they exhibit the skills of a Rembrandt breathing life in the characters.

Lin Yutang writes in My Country and My People that Western art is more sensual, more passionate, fuller of the artist’s ego, while the Chinese artist and art-lover contemplates a dragonfly, a frog, a grasshopper or a piece of jagged rock—more in harmony with nature.

Owing to the use of writing calligraphy with a brush, which is more subtle and more responsive than the pen, calligraphy as art is equal to Chinese painting. Through calligraphy, the scholar is trained to appreciate, as regards line, qualities like force, suppleness, reserved strength, exquisite tenderness, swiftness, neatness, massivness, ruggedness, and restraint or freedom.

This helps explain why the Chinese may not be as warlike as Christian and Islamic cultures.

Discover Chinese Yu Opera with Mao Wei-tao

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Lloyd Lofthouse is the award-winning author of My Splendid Concubine [3rd edition]. When you love a Chinese woman, you marry her family and culture too. This is the love story Sir Robert Hart did not want the world to discover.

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2 Comments | China, Chinese arts and music, Chinese Culture, Chinese history, cultural differences | Tagged: , , , , , , , | Permalink
Posted by Lloyd Lofthouse

The “Vanishing” Street Art of Chinese Calligraphy

June 19, 2011

Chinese calligraphy is not vanishing. What I’m talking about is demonstrated in the videos included with this post. In China, many artists use sidewalks as a canvas and a brush with water to paint the beauty of calligraphy. As the water evaporates, the art vanishes.

In fact, calligraphy is more popular than ever. After the Cultural Revolution, many people turned to calligraphy in the hope of finding solace in the calm repetition of its exercises. Then, in 1981, the authorities took the lead in setting up a Chinese Calligraphers’ Association, the first such nationwide body ever to be established in the country. Source: Fathom.com, The British Museum

Both a language and an art, Chinese calligraphy has been traced back more than 4,000 years to the crude form called “Jia Gu Wen” found on turtle shells from the Shang Dynasty.

Calligraphy first bloomed as an art during the Han Dynasty but by the time of the Tang Dynasty, it had declined as an art. Source: Chinese Calligraphy History

It would be difficult to talk about Chinese art without understanding Chinese calligraphy and its artistic inspiration. A painting has to convey an object, but a well-written character conveys only its beauty through line and structure.

In Shanghai on sidewalks, or Beijing at The Summer Palace, I’ve watched men with long handled brushes, as seen in the first video, using water for ink and concrete for paper. With grace, they exhibit the skills of a Rembrandt breathing life into the characters.

America’s so called street artists should copy the Chinese that practice calligraphy and trade in their cans of spray paint for brushes and water, which would save US taxpayers much money.

Lin Yutang writes in My Country and My People that Western art is more sensual, more passionate, fuller of the artist’s ego, while the Chinese artist and art-lover contemplates a dragonfly, a frog, a grasshopper or a piece of jagged rock—more in harmony with nature.

Owing to the use of writing calligraphy with a brush, which is more subtle and more responsive than the pen, calligraphy as art is equal to Chinese painting.

Through calligraphy, the scholar is trained to appreciate, as regards line, qualities like force, suppleness, reserved strength, exquisite tenderness, swiftness, neatness, massiveness, ruggedness, and restraint or freedom.

Maybe this helps explain why the Chinese are not as warlike as Christian and Islamic cultures.

This revised and edited post first appeared on July 3, 2010 as Caressing Nature with Chinese Calligraphy

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Lloyd Lofthouse is the award-winning author of the concubine saga, My Splendid Concubine & Our Hart. When you love a Chinese woman, you marry her family and culture too.

To subscribe to “iLook China”, look for the “Subscribe” button at the top of the screen in the menu bar, click on it then follow directions.

Leave a Comment » | China, Chinese arts and music, Chinese Culture, Chinese history, Christianity, cultural differences, environment, history, Islam | Tagged: , , , , , , , , , , , | Permalink
Posted by Lloyd Lofthouse

Caressing Nature with Chinese Calligraphy

July 3, 2010

It would be difficult to talk about Chinese art without understanding Chinese calligraphy and its artistic inspiration. A painting has to convey an object, but a well-written character conveys only its beauty through line and structure.

In Shanghai, or Beijing, I’ve watched men with longed handled brushes, as seen in the first video, using water for ink and concrete for paper. With grace, they exhibit the skills of a Rembrandt breathing life to the characters.

Lin Yutang writes in My Country and My People that Western art is more sensual, more passionate, fuller of the artist’s ego, while the Chinese artist and art-lover contemplates a dragonfly, a frog, a grasshopper or a piece of jagged rock—more in harmony with nature.

Owing to the use of writing calligraphy with a brush, which is more subtle and more responsive than the pen, calligraphy as art is equal to Chinese painting. Through calligraphy, the scholar is trained to appreciate, as regards line, qualities like force, suppleness, reserved strength, exquisite tenderness, swiftness, neatness, massivness, ruggedness, and restraint or freedom.

Maybe this helps explain why the Chinese are not as warlike as Christian and Islamic cultures.

See Chinese Yu Opera with Mao Wei-tao

______________

Lloyd Lofthouse is the award-winning author of the concubine saga, My Splendid Concubine & Our Hart. When you love a Chinese woman, you marry her family and culture too.

If you want to subscribe to iLook China, there is a “Subscribe” button at the top of the screen in the menu bar.

2 Comments | China, Chinese arts and music, Chinese Culture, cultural differences | Tagged: , , , , , , , , , , | Permalink
Posted by Lloyd Lofthouse

The Falun Gong Machine

June 25, 2010

When I attended the 6th Asian Heritage Street Celebration in San Francisco, I stopped at a booth for Shen Yun Performing Arts staffed with attractive, college age girls. My wife loves dance, and I thought she might be interested. I asked if this dance troop was part of a local college or university. The girl who handed me the brochure said yes. She lied to me.

6th Annual Asian Heritage Street Celebration

That evening, when I arrived home, I handed the brochure to my wife, who said, “That is Falun Gong.” I’ve written about The Falun Gong and Costco, about A Visit from the Falun Gong, and the more I learn about this group, the more sinister they become.

Turning to the Internet and using Google, I learned that New Tang Dynasty Television, Shen Yun Performing Arts and The Epoch Times all appear to be part of Falun Gong. I also discovered that Falun Gong must buy lots of Internet AD words so Google searches lead to one of the gears in the Falun Gong machine.  In fact, I had trouble finding anything but Falun Gong propaganda and had to keep altering my search terms to get beyond the Falun Gong firewall.

In time, I discovered a piece published in the Buffalo News saying, “the promoters and creators of “Shen Yun,” who have picked up a reputation for misrepresentation and deception over the years, have adopted the questionable propagandist tactics of the very government they criticize in their productions.”

Digging further, the New York Times reported, “China’s decision to ban Falun Gong was made after 10,000 adherents staged a silent protest outside the gates of Zhongnanhai, the Communist Party’s leadership compound in Beijing, to complain about reports in the state-run media that the group said were defamatory. Security forces apparently had no advance knowledge of the demonstration, which took place on April 25, 1999. The Chinese government began treating the group as a threat to national security.”

How about visiting Belching About China

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Lloyd Lofthouse is the award-winning author of the concubine saga, My Splendid Concubine & Our Hart. When you love a Chinese woman, you marry her family and culture too. 

If you want to subscribe to iLook China, there is a “Subscribe” button at the top of the screen in the menu bar.

26 Comments | America, China, Communism, cults, politics | Tagged: , , , , , , , , , , , | Permalink
Posted by Lloyd Lofthouse