Comparative Study Of Techniques Of Writing In Big Characters And Small Characters

In the calligraphy history, there are big character calligraphies such as Bang Shu (Chinese calligraphy writing on signboards), Bian Shu (Chinese calligraphy writing on plagues), Be Ke Shu (Chinese nest split calligraphy), Bi Shu (Chinese wall calligraphy), and also small character calligraphies such as Xiao Kai (regular script in small characters), Shou Zha (Chinese autograph letters) and Chinese Chi Du (letter writers). The writing techniques of big characters and small characters, which run throughout calligraphy imitating and creation, have important significance in study of writing techniques in big characters and small characters.This paper discusses and expounds first from such aspects as holding for writing in big characters and small characters and choice of writing brush, and then comes to the conclusion that it is suitable to write Bang Shu in big characters by means of holding brush by double-hooking with coordination of body parts such as wrist and elbow to maximum. What’s more, wielding by elbow, wielding by wrist and wielding by figures shall coordinate in harmony. Only in this way can stretching feature, steady strokes and rich stroke charms of Bang Shu in big characters be embodied. And it is suitable to write small characters by means of holding brush by five figures. Only in the way of writing by hanging write and elbow can a calligrapher write appropriately with round, resilient and powerful strokes. There are also some differences regarding holding height between writing in big characters and writing in small characters. To be specific, writing in big characters with wide feature requires holding upper part or middle-upper part of the brush; writing in small characters requires holding the lower part of the brush flexibly and steadily as to hold the brush high will cause unsteady holding and inflexible spinning and thus affect the stippling of small characters. With respect to choice of brush, it is suitable to write in big characters by mixing nascent hair with long-tip goat hair. And by mixing soft hair with hard hair, the brush will have a certain resilience with wide and powerful strokes. For writing in small characters, it is suitable to choose purple cony hair or purple mixing-hair for brush in order for strokes powerful and full of strength. Second, it discusses about techniques of writing in big characters and small characters from such aspects as brushwork, writing style and structure. Writing in big characters shall be square, severe, neat, steady and powerful. It requires combining square and round wielding in wielding, and wielding by the center tip of the brush in fast-and-slow way. Writing in small characters requires stippling delicately and using hiding and exposing tip for beginning and completing, using side tip for beauty by combining turning and retracing. With respect to writing big characters for momentum, it comes from two aspects:one is momentum for wielding and the other is concentration of momentum of the calligrapher. And the writing style of small characters comes from concentration of stroke vigor. The structure of big characters is powerful and meticulous, and that of small characters is tranquil and unrestrained. Finally, this paper makes direct and experimental comparative analysis of the typical works including past dynasties of calligraphers and inscriptions, concludes the rules of techniques and extracts the technique elements in writing in big characters and small characters in order to provide beneficial enlightenment for calligraphy creations and imitation.