Essays on Chinese Calligraphy
Sketch (Selections)
By Ouyang Xiu
Su Shunqing once said that one of the pleasures in his life is to write in an environment of bright window and clean desk with brush, inkstone, paper and ink of the best quality. Those who enjoy calligraphy thus are few, and those who stick to it are fewer. I found its pleasure much later in my life. I am not as good as the ancients in fineness, but taking it as a diversion I consider myself is plenty good enough.
Having calligraphy at heart, I practiced cursive script on odd-numbered days and practiced regular script on even-numbered days. I incorporated semi-cursive style into regular style and regular style into cursive style. With ten years unremitting practice I became famous; however, I was exhausted for this meaningless fame. Things happen like this. Seeking import consumes our strength, and seeking pleasure strains our mind. Though devotion wears us out, it rewards us pleasure.
I did not like Li Yong's calligraphy that much at first. Thinking of something matching his great reputation, I looked over and over again at his works and eventually found in them the interest other masters lacked. He is my latest favorite, and thus has a special place in my heart. This is like friendship - the harder it forms the longer it will last. My technique is derived from his script, but my handwriting is not in the least similar to his - I take his idea but not the appearance. My study of Li Yong extended to the scripts of Zhong You, Wang Xizhi and their followers, and then I found his script related to all those masters. This is an unexpected reward from his calligraphy: grasping one style will shed light on others.
About the author
Ouyang Xiu (1007 - 1072)
Acupuncture
Ink on rice paper
Ouyang Xiu was one of Eight Literary Masters of the Tang and Song period. This essay was written in sketch, a literary form initiated by him. Expressing a realistic attitude toward the practice of Chinese calligraphy, his statement represents a general mood of Song scholars.
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