Chinese calligraphy – The supreme visual art form

“In China, from a very early period, calligraphy was considered not just a form of decorative art; rather, it was viewed as the supreme visual art form, was more valued than painting and sculpture, and ranked alongside poetry as a means of self-expression and cultivation. How one wrote, in fact, was as important as what one wrote. To understand how calligraphy came to occupy such a prominent position, it is necessary to consider a variety of factors, such as the materials used in calligraphy and the nature of the Chinese written script as well as the esteem in which writing and literacy are held in traditional China.”

lishu

lìshū 隷書 also known as official or scribal script, is the clerical script used in Chinese calligraphy.


xíngshū 行书 is a semi-cursive script or running script used in Chinese calligraphy. Compared to kǎishū, the brush leaves the paper less often.

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kaishu

Cǎoshū 草书is a cursive script (also known liter. as grass script) used in Chinese calligraphy. It is said that it was highly appreciated in Emperor Wu of Han reign (140–187 AD).


kǎishū 楷書 is the regular script often called standard script, emerging between the Chinese Han dynasty and Three Kingdoms period.

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caoshu

Cǎoshū 草书is a cursive script (also known liter. as grass script) used in Chinese calligraphy. It is said that it was highly appreciated in Emperor Wu of Han reign (140–187 AD).

Any suggestion, improvement…? Many thanks and please, contact us…

Mongolian calligraphy

"La calligraphie mongole est une technique d'écriture mongole classique qui repose sur quatre-vingt-dix lettres reliant verticalement des traits continus pour former des mots. La calligraphie mongole a connu une renaissance depuis la démocratisation de la Mongolie dans les années 1990, après des décennies de répression. Les mentors sélectionnent traditionnellement les meilleurs élèves et les forment pendant cinq à huit ans pour en faire des calligraphes. Actuellement, seuls trois universitaires d'âge mûr initient de manière bénévole une petite communauté d'une vingtaine de jeunes calligraphes à cet art." ich.unesco.org

Calligraphy – In the move of the hand…

Calligraphy – In the move of the hand…

On May 21, we will follow the CrossCultur'Roads of calligraphy

Then in a fairy tale of intertwined forms and meanings
We will familiarize with the most majestic gestures
Carried away by the power and the delicacy of an accomplished art

We will make a great case of Arabic calligraphy
Through miscellaneous styles whose classification was introduced
By Abu Ali Muhammad ibn Ali ibn Muqla (885 - 940) at the Abbasid court

With the naskh, readable, balanced, of the most widespread
The muhaqqaq, which is highly appreciated in the copy of the Koran,
The Thuluth, with rounded, supple and rhythmic forms,
The Rayhani with fine lines,
Or Riqa' and Tawqi', which are very popular in administrative documents

We will be fascinated by the combination of Chinese calligraphy
Associating the "Four Treasures of the Study" 文房四宝
Marrying brush, ink, ink stone and rice paper

We will go to the medieval scriptoria in the company of the copyist monks
And will be attentive to their boundless devotion
In the volutes of exceptional illuminations
Sources of much individual suffering
And of eternal beauty

We will certainly not fail to be interested in
To the digital revival and what it heralds
The continuation and evolution of graphic arts

Then, from the Mayans to the Egyptians, from the Tibetans to the Imazighen,
We will imagine how calligraphy can contribute directly
To magnify not only the letter but the diversity of our knowledge
And the infinite pleasure of accessing it

On May 21, let us summon the power of calligraphy
Getting close to those who throughout the world of signs
Give it the face of so many living realities


La calligraphie - Dans le mouvement de la main...

Le 21 mai, nous nous émerveillerons sur les Routes interculturelles de la calligraphie

Alors dans une féerie de formes et de significations enchevêtrées
Nous familiariserons notre œil aux gestes les plus majestueux
Emportés par la puissance et la délicatesse d’un art accompli

Nous y ferons grand cas de la calligraphie arabe
Et par exemple des styles dont la classification fut introduite
Par Abu Ali Muhammad ibn Ali ibn Muqla (885 – 940) à la cour abbasside

Ainsi du naskh, lisible, équilibré, des plus répandus
Du muhaqqaq, très apprécié dans la copie du Coran,
Du thuluth, aux formes arrondies, souples et rythmées,
Du rayhani aux traits fins,
Ou encore du riqa’ et du tawqi’ très prisés dans les documents administratifs

Nous nous laisserons pareillement gagner par la fascinante combinaison de la calligraphie chinoise
Associant les « Quatre Trésors du lettré » 文房四宝
Mariant pinceau, encre, pierre à encre et papier de riz

Nous irons dans les scriptoria médiévaux en compagnie des moines copistes
Et serons attentifs à leur dévouement sans limite
Dans les volutes d’exceptionnelles enluminures
Sources de bien des souffrances individuelles
Et de beauté éternelle

Nous ne manquerons certes pas de nous intéresser
Au renouveau numérique et à ce qu’il annonce
De la poursuite comme de l’évolution des arts graphiques
Puis, des Mayas aux Égyptiens, des Tibétains aux Imazighen,
Nous imaginerons comment la calligraphie peut contribuer directement
À magnifier non seulement la lettre mais la diversité de nos savoirs
Et l’infini plaisir d’y accéder

Le 21 mai, convoquons la puissance de la calligraphie
Et de ceux et celles qui à travers le monde des signes
Lui donnent le visage de tant de réalités vivantes

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