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  • All my questions were perfectly answered. Thanks to both of you (artvirtue and 001Asoer). And by the way, superb calligraphy as usual Mr. Hough.

  • Thank you.

    Honestly, the calligraphy was not meeting my expectations.

  • It is truly beautiful. Master how can you concentrate with that female American banshee screaming in the background? Kind and warm regards,

  • I really could not concentrate very well and since it's in the airport hotel I could not ask the public to be quiet.

    I was trying to do my best but was not satisfied...

  • I should have said " sometimes there is an element of random chance..." Or probably is not a matter of too much or little luck, for skilled calligraphers?

  • Sorry for being redundant here!!!

  • Not at all.

  • Although you didn't ask me, do you want me to answer?

  • Hi, please feel free to express your ideas.

    Thanks.

  • At 0:23, there was a hesitation due to the surprise! Then the Hook was poorly executed.

    At 0:50, the Vertical Stroke at left had the Flying White effect. However, at 1:24, the split brushstroke with the Flying White effect did not meet my personal aethetics (not because it's split.)

    Then I wrote the first character the third time. Though the strokes were better the previous ones but the structure, IMHO, was not as good as the second one.

  • If by "random chance" you refer to room for variation, then it is true that there is more in 行書 and 草書 than in 楷書. This is partially because the functions of those scripts are different. 楷書 for being a model; 行書 and 草書 for normal writing. Of course, room for variation does not mean there are fewer rules. 楷書, 行書, and 草書 all have rules, and they are often related. The term "書無定法" refers to variation within these rules, not that there are no rules.

  • Like holding the brush, the term "書無定法" refers to variation within these rules, not that there are no rules.

    YES - WITHIN the rules!

    Thank you.

  • I guess the changing of brush and speed helped you on the last calligraphy?

    I also find that in semicursive and cursive styles, there is an element of random chance that is not present in Linshu and Kaishu styles. Of course, this does not mean that everything is on luck! One must be well trained in brushwork as you are. What is your opinion on this?

  • The selection of brush types and sizes are relevent to the calligraphy styles and sizes. And in Chinese calligraphy, the brush strokes are always related to brushes, ink quality, paper, posture, mental status and so on.

    The random chances may also exist with good brushes, experienced calligraphers as different styles of calligraphy. Usually, but not absolutely, the unexpected results (random chances) happens more in Caoshu and Hsinshu and/or less in Zhuanshu, Kaishu, and Lishu.

  • Generally (but not absolutely), the Flying White effects in semicursive and cursive styles will happen when the brush tip is slightly or partially split or flat and the effect cannot be duplicated to the same likeliness by the same calligrapher in most cases. The spontaneous effects that happen unexpectly may or may not conform to the calligrapher's expectations, ranges of desired results, and existing aethetics (including theories, principles, and taboos.)

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