“We must ingest the Calligraphy
of the past, as the silkworm chews the mulberry leaf and produces fine
silken thread, in order to create something of our own for the
present.”
“Calligraphy does for the eye and the imagination, what
music does for the ear and the soul. It is a sophisticated form of
visual, tactile and mental training. Shodou is not just for Orientals,
nor is it just for artists. It is for anyone interested in exploring
alternative ways of thinking and creative problem solving.”
Below are stylistically
coupled examples of Chinese (left) and Inkslinger (right) calligraphy.
Copying from the great Chinese and Japanese masters is the main
component of training that all calligraphers must do. Starting with
the Block Script to learn the eight basic brush strokes, the student
then, over many years, slowly frees up the strokes, progressing to a
semi-cursive then cursive.
A calligrapher's creative
progression passes through three stages. The first is practising and
mastering a range of great classical hands. I am still in this
phase...
(Left)
Hui-tsung, eighth Northern Sung emperor (reigned 1100-1125). [first
section of] The Thousand Characters in Cursive Script. Ink on yellow
silk. This piece shows how the cursive script evolved towards
greater freedom, and is beginning to show the qualities of pictorial
brushstrokes.
(Right)
Merissa Walker, 1998 “I’m dreaming of a white Christmas.” Ink on Washi.
(Left)
Ou-yang Hsün (577-641, T'ang dynasty)[A passage from] Thousand
Characters in Current Script. Ink on paper.
(Right)
Merissa Walker, 1997. "Proper
words in proper places make the true definition of style." Ink on
Washi. Quote by Jonathan Swift.
A slender tipped, stiff brush and
trailing away endings to each stroke give this work an unorthodox,
fanciful, yet elegant appearance.
The text makes a comment on 'style', which the writer is obviously
trying slavishly to evoke, thereby creating a piece which would make
any Chinese Master turn in his grave.
(Left)
Yü Yu-jen (1878-1964) [Part of the] Inscription commemorating the
opening of the National Museum of History. Taipei, 1962. Simplicity
and freedom in the cursive script by a contemporary master.
(Right) Merissa
Walker, 2001."Thank heaven the sun has gone
in and I don't have to go out and enjoy it." Ink on Washi.
It is hard to create English calligraphy much simpler than this
without losing too much clarity and rendering it utterly illegible.
(Left)
The mad old monk, Fu Shan (1607-1684) Ming/Ch'ing. [Excerpt from] Poem
by Tu Fu. Current script in a style verging on uncouthness. "Rather
than clever, gracious, deft and proper," he wrote, "I prefer being
awkward, unpleasing, disconnected, but true to myself."
(Right)
Merissa Walker, 2000. "Instead of having the rug pulled out from under your feet,
learn to dance on the shifting carpet!" Ink on Washi.
