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Chinese Calligraphy, Abstract Art, Mind Painting
by Ngan Siu-Mui

Chapter 5
Chinese Brush Techniques for Calligraphy

Generally speaking, the beauty of calligraphy is revealed in:

• The Chinese brush movement techniques
• The construction of each individual character
• The composition of the whole piece of work.

As the hair of the brush is soft and pliable, it can respond readily even the most minute movement. Brush movement techniques are means to control its softness and flexibility. Brush movements techniques include body posture, brush holding, position of the wrist, strength regulation and tip manipulation. These not immutable, they are subject to adjustments in response to the size of the characters and personal habits.

Section 1 ~ Posture

Body posture must be proper, so as to coordinate the movements of the fingers, the wrist, the elbow, the shoulders and the waist. When writing characters, the body should feel comfortable and at ease. Avoid standing or sitting rigidly. In general, characters above 10 cm2 should be written in a standing position. This will not only facilitate brush movement, but also widen the field of vision, which will then ease the construction of characters and the overall composition. The sitting position is suitable for writing smaller characters. Nevertheless, these two positions may be adopted to suit each individual. Following is the proper posture:

1. Sit properly in a chair, but stand up when writing large characters. In either position, the feet rest level on the ground, 20 to 30 cm apart.
2. In the sitting posture, the two forearms should be placed flat on the desk at an angle of about 45 degrees with the chest. The left hand rests on the paper, while the right hand holds the brush. In the standing position, the right wrist and elbow are suspended, while the left hand still rests on the paper. The two hands mutually balance the strength of the artist. While writing, the left hand, from time to time, moves the paper to a suitable position.
3. The back and the waist should be upright, while the head is slightly inclined forward. Whether sitting or standing, the body does not lean against the edge of the desk.
4. The paper is placed flat on a desk, perpendicular to the edge of the desk. The head should be facing the portion of the paper being used.

Section 2 ~ Brush Holding

If the brush is held properly, writing can be done freely. At the same time, the strength of the body can pass through the shoulders, the elbow, the wrist and the fingers to reach the brush point. This enables the drawing of powerful strokes.

Holding the brush too tightly, however, inhibits its free movement; while holding it too loosely ends in shakiness and limpness of the hand. Here are the methods:

1. Hold the brush stem firmly with the first phalanges of the thumb, forefinger and middle finger. Place the thumb horizontally, rather than vertically. This position keeps the palm of the hand empty to facilitate movement of the brush. The first phalange of each finger is very sensitive and readily feels any movement of the tip on the paper.
2. With the small finger held in tight contact, the fingernail of the ring finger is pressed against the brush stem.
3. To avoid holding the brush stem too stiffly, hook the five fingers around it, with the joints slightly bent outward.
4. Hold the brush stem at a height corresponding to the size of the characters, with the thumb approximately 4 to 8 cm above the joint between the stem and the hair. Generally speaking, holding the brush higher on the stem gives greater freedom in brush movement, while holding it on the lower part brings more firmness and stability.
5. Keep the stem directly in line with the nose, but slightly to the right-hand side.
6. While writing, all five fingers serve to hold the stem firmly.

Essential Rules

1. Tightening the Fingers: while writing, there must be no empty space between the forefinger, middle, ring and small finger holding the brush stem.
2. Emptying the Hand: this refers to emptying the palm which maintaining firm grasp of the brush stem with the first phalange of the fingers.
3. Holding the Palm Upright: either in a pillowed or raised wrist position, when writing small to medium-sized characters, hold the palm upright, and not level with the wrist. In a suspended wrist position, when writing big characters, the palm is held almost parallel to the paper.
4. Levelling the Wrist: the wrist should be parallel to the paper, so that the top of the brush-stem will be inclined towards the left to facilitate the use of the hidden-stroke technique.
5. Keeping the Brush-tip Upright: always keep the brush-tip upright, and not flat on the paper. This is the key to the flexible use of the central-tip technique. The idea behind this very important technique lies in keeping the tip upright, with one’s strength concentrating at the point, while the stem is permitted to slant towards any given direction. Please note that although always holding the brush stem vertical to the paper is central-stroke technique, but this makes it difficult to apply the strength of the artist.

Section 3 ~ Position of the Wrist

In order to deliver the strength of the body to the point, so that it moves flexibly, it is very important to have proper wrist position.

1. Pillowed Wrist
   In a sitting position, both the wrist and the elbow are in direct contact with the desk. With this, brush movements are not very flexible since only the fingers can move the tip. As such, characters larger than 2 cm ² are difficult to write.
2. Raised Wrist
   In a sitting position, here, the elbow rests on the desk, while the wrist is raised. This way, not only can the brush be manipulated more easily, but also the strength is allowed to flow readily. Raise the wrist above the desk at a height proportional to the size of characters, the greater the characters the higher the wrist. This is most suitable for writing characters between 2 and 6 cm ².
3. Suspended Arm
   Here, both the elbow and the wrist are lifted from the desk. If one is not used to it, the hand will shake and feel weaker. However, once skillfulness is achieved, the brush can be maneuvered most freely, with sufficient strength. This is suitable for writing characters above 6 cm ² and can be done while sitting or standing. Write characters larger than 10 cm ² , however, should be written while standing.

Section 4 ~ Moving the Chinese Brush

This technique refers to regulating the strength of the body, while maneuvering the brush. It varies in accordance with the size of the characters being written.

1. Wrist Movement
   This is simply the action of moving the brush using the strength of the wrist. The elbow is positioned on the desk while the wrist is raised slightly with the forearm lying flat on the desk. It is suitable for writing character sizes between 2 and 4 cm ².
2. Elbow Movement
   This means maneuvering the brush with the strength of the elbow which is positioned on the desk, while the wrist is raised at a height proportional to the size of the characters. The wrist and the fingers move along with the elbow. It is suitable for writing characters between 2 and 6 cm ² in size.
3. Shoulder Movement
   This implies moving the brush using the strength of the shoulder; and, while the arm is suspended, the fingers, the wrist and the elbow move along with the shoulders. It is suitable for writing characters above 6 cm ².
4. Waist Movement
   This brush movement is made possible by concentrating the strength of the whole body at the waist, while the fingers, the wrist, the elbow and the shoulders all move along with the waist. It is suitable for writing characters about 50 cm ² in size. For writing very big characters, the calligrapher may even stand on the writing paper.

Section 5 ~ Using the Chinese Brush-Tip

The key to correctly maneuvering the tip is to know how to handle the point while writing. The strokes are then powerful and can appear in many forms. If the whole brush-tip is pressed up to the stem on the paper, strokes will be rigid, monotonous, and therefore uninteresting. Furthermore, once completed, the strokes must not be corrected, otherwise the writing will be spiritless and weak. Hence, ‘ideas come before writing’, meaning it is necessary to understand first both the principle and the methods of using the tip, then the best results can be obtained.

Fundamental Techniques

1. Hidden-Stroke
   This technique prevents the undesirable appearance of a sharp point at the beginning of a stroke. Hence, make a “dot” first when starting each stroke then lift the tip slightly and move forward. For vertical strokes, when the intended direction is downward, move upward first a short distance, then move the brush over this stroke and go downward; and for horizontal strokes, when the intended direction is rightward, start by moving slightly leftward. “Hiding” the tip has three functions:
   • To take an advantageous position so as to transfer your power to the tip. Then the strength of the body can easily be sent out while moving forward. This means, inclining the top of the brush leftward, for instance, while moving its tip rightward, and upward while moving downward.
   • To spread out the hair of the tip flatly before moving it rightward or downward. This makes the stroke even on all sides.
   • To make a round or angular shape at the beginning of a stroke.
2. Central-Stroke
   With the hair spread out evenly, the point moves along the center of a stroke. The stem can incline in all directions, with the strength falling within the point. Hence, the stem is not always vertical to the paper. The central-stroke is the principal Chinese calligraphy technique, and the resulting strokes will be thick, round, with a three dimensional appearance. Using the point to make central-stroke concentrates the strength of the writer’s body at the point; and, undoubtedly, the resulting lines are stronger and more forceful, even if they are as slim as a hair.
3. Returned-Stroke
   Move the tip to the very end of the stroke, raising it slightly to make the brush point return quickly back to the stroke. It serves three purposes:
   • To directly transport one’s strength to the end of the stroke.
   • To finish the stroke in a round or angular shape.
   • To enable the adoption of an advantageous position for the tip so that it can be moved with power in any directions, and also to prepare to begin another stroke.
4. Slanted-Stroke
   Slightly incline the tip to start the stroke; but rapidly return to a central stroke to prevent it from lying on the paper, as a mop sliding on the floor. The slanted-stroke is used to write angular strokes.
5. Exposed-Stroke
   When the tip approaches the end of a stroke, rapidly lift, then move it outward with the gesture to return it to the stroke, in the air. By so#doing, a sharp point will appear at the end of the stroke, but still retaining its strength. An appropriate use of the exposed-stroke results in elegant movement.
6. Lifting and Pressing
   Lifting is to raise the tip, without leaving the paper, so as to write a very fine line. Pressing means to push down the tip, so as to draw a bold and heavy line. The use of these techniques will produce different effects:
   • to create round strokes, bold or fine in central-stroke;
   • to create angular strokes, bold or fine in slanted-stroke;
   • to adjust the tip from the slanted to the central position;
   • to adjust the shape of the tip.
7. Speeding and Delaying
   Speeding means to move the tip rapidly while writing, and is an important technique to show vitality. It should be noted that excessive speeding would result in imperfect shapes. Delaying is a gesture to slow down the movement of the brush, as though something stands in the way and must be fought against, before proceeding. This prevents the strokes from being too straight or weak. However, excessive slowing down will produce stagnant strokes.
8. Angular and Round Strokes
   Strokes where angles appear at the beginning, the end and the turn are said to be square. Those without an angle are called round strokes. Square strokes are drawn by slanting and pressing the tip, while round ones use the central and lifting-tip techniques. The strength of angular strokes is revealed externally, whereas that of round ones is concealed.
9. Turns and Joints
   Use the slanted and pressing-tip techniques in making a turn in angular strokes, thereby creating a joint. To make a turn in a round stroke, use central and lifting-tip techniques.

Note: generally speaking, stroke order proceeds from top left to bottom right. It will also be noted that knowing the Chinese language is not an absolute prerequisite for beginners; however, those persistent in their practice sooner or later realize the wisdom of learning the language.

Table of contents

• Introduction
• Chapter 1 — Creative Energy in Calligraphy
• Chapter 2 — Chinese Calligraphy Scripts
• Chapter 3 — The Calligrapher's Tools :: Chinese brush, paper, ink and ink stone
• Chapter 4 — Watching Lady Gong-Sun's Sword Dance :: The dance of Chinese brush
• Chapter 5 — Chinese Brush Techniques for Calligraphy
• Chapter 6 — Approach to Chinese Calligraphy through the Seal Script
• Chapter 7 — Approach to Chinese Calligraphy Techniques through the Regular Script
• Chapter 8 — Studying the Writings of Ancient Chinese Calligraphers

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