Традиции, обычаи и праздники Китая (Traditions, Customs and Festivals of China). Сухомлинова С.И - 14 стр.

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characters, though written rapidly, still stand separate one from
another and the dots are not linked up with other strokes.
Jincao or the modern cursive hand flourished in the Jin and Tang
dynasties and is still widely popular today.
It is the essence of caoshi, especially jincao, that the characters
are executed swiftly with strokes running together. The characters are
often joined up, with the last stroke of the first merging into the
initial stroke of the next. They also vary in size in the same piece of
writing, all seemingly dictated by the whims of the writer.
5. The xingshu or running hand is sometimes between the regular
and the cursive scripts. When carefully written with distinguishable
strokes, the xingshu characters will be very close to the regular style;
when swiftly executed, they will approach the caoshu or cursive hand.
Chinese masters have always compared with vivid aptness the three
styles of writing – kaishu, xingshu and caoshi – to people standing,
walking and running.
The best example and model for xingshu, all Chinese
calligraphers will agree, is the Inscription on Lanting Pavilion in the
hand of Wang Xizhi (321-379) of the Eastern Jin Dynasty.
To learn to write a nice hand in Chinese calligraphy, assiduous
and persevering practice is necessary. This has been borne out by
many great masters China has produced. Wang Xizhi, the great artist
just mentioned, who has exerted a profound influence on, and has been
held in high esteem by calligraphers and scholars throughout history,
is said to have blackened in his childhood all the water of the pond in
front of his house by washing the writing implements in it after his
daily exercises. Another master, Monk Zhiyong of the Sui Dynasty
(581-618) was so industrious in learning calligraphy that he filled
many jars with worn-out writing brushes, which he buried in a "tomb
of brushes".
Renewed interest in brush-writing has been kindled today among
the pupils of China, some of whom already show promises as worthy
successors to the ancient masters.
Task 3. Answer the following questions.
1. What constitutes an important part of the heritage of national
culture of China?
2. What did Chinese calligraphy begin with?
3. What are other names of the seal character? 
characte rs, tho ugh w ritte n rap id ly, st ill sta nd separate one fro m
anot he r a nd t he dots are not linke d up w it h o t her strokes.
        Jincao or t he modern c urs ive ha nd flo uris hed in t he J in a nd Ta n g
dynast ies a nd is still w ide ly p op ular today.
        It is the essence o f caoshi, especia lly j incao, t hat t he c haracters
are exec uted sw ift ly w it h st rokes running to get he r. The cha racters are
o fte n j o ined up, w it h t he last st roke o f t he first merging into t he
init ia l st roke o f t he ne xt. The y a lso vary in s ize in t he sa me p iece o f
writ ing, a ll see mingly d ictated b y t he w hims o f t he writer.
        5. The xingshu or running ha nd is so me t imes betwee n t he re gula r
and t he c urs ive scripts. Whe n carefully writte n w it h d ist inguis hab le
strokes, the xingshu c ha racters w ill be very c lose to t he re gular st yle;
whe n sw ift ly e xec uted, the y w ill ap proac h t he caoshu or curs ive ha nd.
Chinese masters ha ve alwa ys co mpared w it h vivid apt ness the t hree
styles o f w rit ing – kaishu, xingshu and caoshi – to peop le sta nd ing,
walk ing a nd running.
        The best e xa mp le a nd mode l for xingshu, a ll C hinese
calligrap hers w ill a gree, is the Ins cription on Lanting Pavil ion in t he
ha nd o f Wa ng X iz hi (321-379) o f t he Eastern J in D ynast y.
        To learn to write a nice ha nd in Chinese calligra p hy, assid uo us
and perse vering pract ice is necessary. This has been borne o ut b y
ma ny great masters C hina has prod uced. Wang X iz hi, t he great art is t
just me nt io ne d, w ho has e xerted a p ro fo und influe nce o n, a nd has bee n
he ld in high estee m b y ca lligrap he rs a nd sc ho la rs t hro ugho ut hist ory,
is sa id t o ha ve b lacke ned in his c hi ld hood a ll t he wate r o f t he po nd in
fro nt o f his ho use b y was hing t he writ ing imp le me nts in it a fte r his
daily e xe rc ises. Anot her maste r, Monk Zhiyo ng o f t he Sui D ynast y
(581-6 18) was so ind ust rio us in learning ca lligrap hy t hat he fille d
ma ny jars w it h wo rn-o ut writ ing b rus hes, whic h he b uried in a "to mb
o f brus hes".
        Renewed interest in brus h-w rit ing has bee n k ind le d to da y a mo n g
the p up ils o f C hina, so me o f w ho m a lread y s how pro mises as wort hy
successors to the a nc ie nt masters.

      Task 3. Ans wer the follo wing quest ions.
1. What co nst it utes a n i mporta nt part o f t he he rita ge o f nat io na l
cult ure o f C hina ?
2. What d id Chinese calligrap hy be gin w it h?
3. What are othe r na mes o f the sea l characte r?


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