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Suzhou Embroidery

2010
04.17

Suzhou embroidery, Hunan embroidery, Sichuan embroidery and Guangdong embroidery are the four most famous in China. Suzhou embroidery has a long history. It has been excavated in Auspicious Tower and Mount Tiger Tower made in Northern Song in Five dynasties. The embroidery was made in rather professional ways, which is believed to be the earliest by now. It is recorded that suzhou embroidery was very prosperous and the art reached perfection after Song dynasty. Each family bred silkworms, made embroidery. There appeared embroidery thread lanes, brocade mills, embroidery flower streets, etc., in the city. That proved the prosperity of suzhou embroidery. Some lived by embroidering. Daughters in rich families were engaged in it as a way of killing time and molding their experiment. That’s how “popular embroidery”, “boudoir embroidery” and “palace embroidery” came into being. Suzhou embroidery in Qing dynasty reached its culmination. Suzhou was called the “market of embroidery”, famous both at home and abroad. There were various ways of knitting and they were applied widely. Mountains, rivers, lakes, pavilions, flowers and birds, characters were all embroidered. Suzhou embroidery was largely needed in the palace. Therefore wonderful and magnificent embroidery sprang up.

At the end of Qin dynasty and the beginning of Ming dynasty, Songtao, an expert at embroidery, renovated the traditional way of knitting. Flowers and birds, characters embroidered in new ways, or endowed with new meaning were very characteristic. The image of Lina, the queen of Italy absorbed the theory of chiaroscuro. Close attention was paid to the vividness of the images. Such embroidery was called “art embroidery” or “emulation embroidery”. Songtao combined the previous art and his own experience, classified the way of knitting into 18 varieties, as recorded by Zhangsui in a book. Thus the way of knitting was systematized. Her own embroidery won several awards for the country in International Fair.

The pieces of embroidery on characters, animals and flowers, mountains and water are for appreciation. They can also be made into pictures, book marks, a set of hanging scrolls, etc. There are also the varieties of embroidery: single-side embroidery, double-side embroidery of different colors. Double-side embroidery, the specific style of suzhou embroidery can be appreciated from both sides. Pictures look exactly the same and wonderful on both sides. Special ways are used in knitting instead of knotting. There the end of silk threads are invisible. It is knitted in the right angle without piercing the other side. Both sides will present the same excellent effect. The Nangjing Bridge, Xiangjun, the peony, the cat, the goldfish are the masterpieces in double-side embroidery.

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Chinese Cheongsam (QiPao)

2010
04.17

The cheongsam is a female dress with distinctive Chinese features and enjoys a growing popularity in the international world of high fashion.

The name “cheongsam,” meaning simply “long dress,” entered the English vocabulary from the dialect of China’s Guangdong Province (Cantonese). In other parts of the country including Beijing, however, it is known as “qipao”, which has a history behind it.

When the early Manchu rulers came to China proper, they organized certain people, mainly Manchus, into “banners” (qi) and called them “banner people” (qiren), which then became loosely the name of all Manchus. The Manchu women wore normally a one-piece dress which, likewise, came to be called “qipao” or “banner dress.” Although the 1911 Revolution toppled the rule of the Qing (Manchu) Dynasty, the female dress survived the political change and, with later improvements, has become the traditional dress for Chinese women.

Easy to slip on and comfortable to wear, the cheongsam fits well the female Chinese figure. Its neck is high, collar closed, and its sleeves may be either short, medium or full length, depending on season and taste. The dress is buttoned on the right side, with a loose chest, a fitting waist, and slits up from the sides, all of which combine to set off the beauty of the female shape.

The cheongsam is not too complicated to make. Nor does it call for too much material, for there are no accessories like belts, scarves, sashes or frills to go with it.

Another beauty of the cheongsam is that, made of different materials and to varying lengths, they can be worn either on casual or formal occasions. In either case, it creates an impression of simple and quiet charm, elegance and neatness. No wonder it is so much liked by women not only of China but of foreign countries as well.

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Entertainment Shanghai

2010
04.16

Shanghai. Shanghai. Shanghai. Shanghai is on the lips of everyone who is looking to experience the newly revamped Paris of the East. The city has always had a vibrant cultural scene, with cinemas showing the latest Chinese films and Hollywood blockbusters, and theatres featuring opera, dance, drama, acrobatics and puppets. I have yet to find a mime performance but I’m sure it’s waiting to be discovered. For many events it’s worth either booking at the relevant venue in advance (try to have your requirements written out in Chinese) or if you’re feeling extra lucky, try turning up on the night of the performance.
The most notable venue is the grand, new multi-purpose theatre in the Shanghai Centre on Nanjing Xi Lu, which hosts international concerts, ballet, opera and acrobatics. For Beijing Opera, there’s an additional venue on Fuzhou Lu (south side) just opposite Renmin Park, while the nightly acrobatics performances can be found at Lyceum Theatre, home of that mainstay of colonial life, the British Amateur Dramatic Society. The nightly acrobatics show by the famous Shanghai Acrobatics Troupe is well worth watching. Part circus, all fun and laughs it includes tumbling, juggling, Chinese clowns, magic and animal acts. Some of these skills – sword swallowing, fire eating and the amazing balancing acts – were developed as long ago as the Han dynasty. Others have taken on a trashier look featuring motorbikes, spectacular kitchy costumes and even a giant panda driving a car. (He has a bad habit of speeding and not watching the road.)

There are plenty of cinemas in Shanghai, some of them dating back to the pre-1949 days when things were “on a need to know” basis. All foreign films are dubbed into Chinese. (I had the good fortune of catching Spiderman and was amazed at how good his Mandarin was.) For those interested in English language films, Malone’s bar (part of a Canadian chain) has a weekly film night on Wednesdays, and the British Council also shows films from time to time.

Of the venues where you can hear classical music, one of the most pleasant has to be the Shanghai Conservatory of Music at 20 Fenyang Lu, south of Huaihai Lu, near Changshu Lu metro station. Established in 1927 as a college for talented young musicians, it continues to train many of the child prodigies who are becoming quite common in a population of over 2 billion people.

For a more upscale dining and lounging experience, Xin Tian Di is the place to see and be seen. Once a meeting place for the Mao Zedong’s Communist Party, it has now become a celebration of fine food, nightlife and flashy consumer goods – practically everything Mao and his party opposed. The outlets range from a Vidal Sassoon salon to the requisite Starbucks. There are flashy French and Italian restaurants, La Maison and Va Bene, plus nightclubs like Star East, a sort of Planet Hong Kong theme club launched by Jacky Chan and other Cantonese stars. Design is what makes Xin Tian Di so attractive, inside and out. Each of the two to three-story buildings looks unique, reflecting the exquisitely-preserved twists and turns of an evolving neighborhood, over the decades. Interiors are equally eye-catching; some of Shanghai’s best artists and designers worked overtime on each shop and restaurant, determined to dazzle each other.

Of course, there’s much more to share about the entertainment in Shanghai but then again seeing is believing.

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Spring Festival

2010
04.16

Far and away the most important holiday in China is Spring Festival, also known as the Chinese New Year. To the Chinese people it is as important as Christmas to people in the West. The dates for this annual celebration are determined by the lunar calendar rather than the Gregorian calendar, so the timing of the holiday varies from late January to early February.

To the ordinary Chinese, the festival actually begins on the eve of the lunar New Year’s Day and ends on the fifth day of the first month of the lunar calendar. But the 15th of the first month, which normally is called the Lantern Festival, means the official end of the Spring Festival in many parts of the country.

Preparations for the New Year begin the last few days of the last moon, when houses are thoroughly cleaned, debts repaid, hair cut and new clothes purchased. Houses are festooned with paper scrolls bearing auspicious antithetical couplet (as show on both side of the page) and in many homes, people burn incense at home and in the temples to pay respects to ancestors and ask the gods for good health in the coming months.

“Guo Nian,” meaning “passing the year,” is the common term among the Chinese people for celebrating the Spring Festival. It actually means greeting the new year. At midnight at the turn of the old and new year, people used to let off fire-crackers which serve to drive away the evil spirits and to greet the arrival of the new year. In an instant the whole city would be engulfed in the deafening noise of the firecrackers.

On New Year’s Eve, all the members of families come together to feast. Jiaozi, a steamed dumpling as pictured below, is popular in the north, while southerners favor a sticky sweet glutinous rice pudding called nian gao.

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The Moon Festival

2010
04.16

On the 15th day of the 8th month of the lunar calendar, the moon is round and the Chinese people mark their Moon (or Mid-autumn) Festival. The round shape to a Chinese means family reunion. Therefore the Moon Festival is a holiday for members of a family to get together wherever it is possible.

On that day sons and daughters will bring their family members back to their parents’ house for a reunion. Sometimes people who have already settled overseas will come back to visit their parents on that day.

As every Chinese holiday is accompanied by some sort of special food. On the Moon Festival, people eat moon cakes, a kind of cookie with fillings of sugar, fat, sesame, walnut, the yoke of preserved eggs, ham or other material. In Chinese fairy tales, there live on the moon the fairy Chang E, a wood cutter named Wu Gang and a jade rabbit which is Chang E’s pet. In the old days, people paid respect to the fairy Chang E and her pet the jade rabbit.

The custom of paying homage to the fairy and rabbit is gone, but the moon cakes are showing improvement every year. There are hundreds of varieties of moon cakes on sale a month before the arrival of the Moon Festival this year. Some moon cakes are of very high quality and very delicious. An overseas tourist is advised not to miss it if he or she happens to be in China during the Moon Festival.

Poems on Moon and Home
The Mid-Autumn Moon
by Li Qiao
A full moon hangs high in the chilly sky,
All say it’s the same everywhere, round and bright.
But how can one be sure thousands of li away
Wind and perhaps rain may not be marring the night?

The Yo-Mei Mountain Moon
by Li Bai
The autumn moon is half round above the Yo-mei Mountain;
The pale light falls in and flows with the water of the Ping-chiang River.
Tonight I leave Ching-chi of limpid stream for the three Canyons.
And glide down past Yu-chow, thinking of you whom I can not see.

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Seals(Yin Zhang)

2010
04.16

Seal-cutting is traditionally listed along with painting, calligraphy and poetry as one of the “four arts” expected of the accomplished scholar and a unique part of the Chinese cultural heritage. A seal stamp in red is not only the signature on a work of calligraphy or painting but an indispensable touch to liven it up.

The art dates back about 3,700 years to the Yin Dynasty and has its origin in the cutting of oracle inscriptions on tortoise shells. It flourished in the Qin Dynasty of 22 centuries ago, when people engraved their names on utensils and documents (of bamboo and wood) to show ownership or authorship. Out of this grew the cutting of personal names on small blocks of horn, jade or wood, namely the seals as we know them today.

As in other countries, seals may be used by official departments as well as private individuals. From as early as the Warring States Period (475- 221 B.C.) an official seal would be bestowed as token of authorization by the head of a state to a subject whom he appointed to a high office.

The seal, in other words, stood for the office and corresponding power. Private seals are likewise used to stamp personal names on various papers for purposes of authentication or as tokens of good faith.

Seals reflect the development of written Chinese. The earliest ones, those of the Qin and Han dynasties, bear the zhuan or curly script, which explains why the art of seal-cutting is still called zhuanke and also why the zhuan script is also known in English as “seal characters”. As time went on, the other script styles appeared one after another on Chinese seals, which may now be cut in any style except the cursive at the option of the artist.

Characters on seals may be cut in relief or in intaglio. The materials for seals vary with different types of owners. Average persons normally have wood, stone or horn seals, whereas noted public figures would probably prefer seals made of red stained Changhua stone, jade, agate, crystal, ivory and other more valuable materials. Monarchs in the old days used gold or the most precious stones to make their imperial or royal seals. Today Chinese government offices at lower levels wood ones.

Seals cut as works of art should excel in three aspects– calligraphy, composition and the graver’s handwork. The artist must be good at writing various styles of the Chinese script. He should know how to arrange within a limited space a number of characters– some compact with many strokes and others sketchy with very few– to achieve a vigorous or graceful effect. He should also be familiar with the various materials– stone, brass or ivory– so that he may apply the cutting knife with the right exertion, technique and even rhythm. For the initiated to watch a master engraver at work is like seeing a delightful stage performance.

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Tea Time

2010
04.16

Of the three major beverages of the world– tea, coffee and cocoa– tea is consumed by the largest number of people and China is the homeland of tea. It is believed that China has tea-shrubs as early as five to six thousand years ago! It’s around this same time that Starbucks came into existence (just kidding or am I?). Tea from China, along with her silk and porcelain, began to be known the world over more than a thousand years ago and has since always been an important Chinese export. At present more than forty countries in the world grow tea with Asian countries producing 90% of the world’s total output. So when the English clamor for “tea” time, most likely it’s tea from Asia. Sorry ol’ chap.

All tea trees in other countries have their origin directly or indirectly in China. In fact, the word for tea leaves or tea as a drink in many countries are derivatives from the Chinese character “cha.” The Russians call it “cha’i”, which sounds like “chaye” (tea leaves) as it is pronounced in northern China. Even, the Japanese character for tea is written exactly the same as it is in Chinese, though pronounced with a slight difference. The habit of tea drinking spread to Japan in the 6th century, but it was not introduced to Europe and America till the 17th and 18th centuries. Now the number of tea drinkers in the world is still growing. Cup of tea?

The Categories of Tea

There are so many types of tea that it can be mind boggling unless you are a true connoisseur. To simplify things, Chinese tea may be classified into five categories according to the different methods by which it is processed.

1 ) Green tea: Green tea is the variety, which keeps the original colour of the tea leaves without fermentation during processing. This category consists mainly of Longjing tea of Zhejiang Province, Maofeng of Huangshan Mountain in Anhui Province and Biluochun produced in Jiangsu.

2 ) Black tea: Black tea, known as “red tea” (hong cha) in China, is the category which is fermented before baking; it is a later variety developed on the basis of the green tea. The best brands of black tea are Qihong of Anhui , Dianhong of Yunnan, Suhong of Jiangsu, Chuanhong of Sichuan and Huhong of Hunan.

3 ) Oolong tea: This represents a variety half way between the green and the black teas, being made after partial fermentation. It is a specialty from the provinces on China’s southeast coast: Fujian, Guangdong and Taiwan.

4 ) Compressed tea: This is the kind of tea, which is compressed and hardened into a certain shape. It is good for transport and storage and is mainly supplied to the ethnic minorities living in the border areas of the country. As compressed tea is black in colour in its commercial form, so it is also known in China as “black tea”. Most of the compressed tea is in the form of bricks and is, therefore, called “brick tea”, though it is sometimes also in the form of cakes and bowls. This tea is mainly produced in Hubei, Hunan, Sichuan and Yunnan provinces.

5 ) Scented tea: This kind of tea is made by mixing fragrant flowers in the tea leaves in the course of processing. The flowers commonly used are jasmine and magnolia among others. Jasmine tea is a well-known favorite with the northerners of China and is my personal favorite as well.

Tea Drinking

Tea has been one of the daily necessities in China since anyone can remember. Many people like to have their tea on hot summer afternoons to counter the heat and bring on an instant feeling of cool and relaxation. This is why tea-houses are everywhere in towns and market villages in Southern China and provide the perfect backdrop for the locals to meet and chat over a cup of tea. Medically, the tea leaf contains a number of chemicals that includes tannic acid and a bit of caffeine. Teas that are mixed with aromatics help to break down meat and fat, promoting digestion. Many of the ethnic minorities in China whose diet consists primarily of meat have a special saying, “Rather go without salt for three days than without tea for a single day.” Soon fast food diners everywhere will be heard saying, “Quarter pounder with hot tea, please.”

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The Kalachakra symbol

2010
04.16

Kalachakra is a Sanskrit term used in Tantric Buddhism that means “time-wheel” or “time-cycles”. The Kalachakra tradition revolves around the concept of time and cycles: from the cycles of the planets, to the cycles of human breathing, it teaches the practice of working with the most subtle energies within one’s body on the path to enlightenment.

The Kalachakra deity represents a Buddha and thus omniscience. Since Kalachakra is time and everything is under the influence of time, Kalachakra knows all.

The Kalachakra mantra, which is shown as OM AH HUM HOH HAM KSHAH MA LA VA RA YA HUM PHET, consists of seven individual syllables combined together with three other components to make a total of ten very powerful elements within the image. The ten powers are described as ten existences – body, awareness, space, wind, fire, water, earth, stable, moving, and the gods unseen and uncreated. So, the Kalachakra symbol means “The one with ten powers”, which is the best known symbols of the Kalachakra system. It is carved onto pendants, rings, bracelets, etc. for the use of protection against spirit harm.

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The Origins of Feng Shui

2010
04.15

Feng Shui, which literally means wind and water, is an ancient Chinese art and science that is a blend of architecture, interior design, Chinese mathematics and old fashioned common sense. Feng Shui reveals methods of improving your relationship with the environment around you as well as aspects of intelligence, relationships, and movement. While Western Horoscopes might be fun and offer you a glimpse into your monthly love life, Feng Shui is an essential part of your daily life like eating, sleeping, and breathing. It is a way of life.

Throughout ancient China, classical Feng Shui was a closely guarded discipline used as a tool to ensure the good health, wealth, and power of the Imperial Dynasties. T he keepers of this secret body of knowledge – Feng Shui Masters, were highly respected meteorologists, astronomers, and other scientists and who were charged with sustaining the good fortune and prosperity of the royal court. Since then, the craft has been transferred down the generations through very specific lineages.

Today, Feng Shui is commonly found in restaurants, private homes, shop houses, and corporate offices. Whether it’s the placement of a tall green plant or the particular angle of a desk, Feng Shui at work is not obvious to the untrained eye.

The Principles of Feng Shui

(Yin & Yang)
Feng Shui is based on the principle of Yin and Yang. Balance, harmony, consistent change, and the interdependency of all things are but a few of the deep meanings within this simple representation. Yang represents heat and light while Yin symbolizes cold and darkness. This analogy can be applied to time, seasons, directions, and many other cycles of change.
(The Five Elements)
Another simple, yet powerful representation are the five elements, Wood, Fire, Earth, Metal, and Water. The elemental wheel demonstrates how these elemental energies interact. In its balanced state, it is in harmony. Yet each element can strengthen or weaken other elements in a variety of beneficial and detrimental ways. When calculating the energy map of a property these interactions provide the key to correcting issues within a property.

(Chi)
Feng Shui is based upon a set of theories and complex calculations derived from the I-Ching. Using these principles and taking into account the physical relationship between the natural environment and the magnetic fields of the Earth provides a “blueprint” of the influences around us. With this blueprint we can see clearly the energies or “Chi” that effect us in our properties.

The Feng Shui Compass or “Lou Pan” is an indispensable tool for geomancers in charting “Chi” energy and directional influences. Without it, Feng Shui is not truly Feng Shui and one is only practicing design and personal preference. While Martha Stewart may have excellent design sense, Feng Shui is the true Chinese science that can explain why a house’s layout creates a calming effect or how to remedy a room that feels unsettling.

Why Feng Shui?

As we embark on the new millennium, people are looking for answers in the face of global uncertainty. You only need to read current newspaper headlines to know the world is out of sync. Feng Shui is about balance, comfort and harmony; it is not a religion or a mystical belief. Rather, Feng Shui is a science that offers the ability to create a balance in your dwelling or place of work. Feng Shui is not a fad, but a means to build one’s prosperity and well being.

Today, many are realizing the benefits of properly aligning their homes, offices, and new developments within the principles of Feng Shui. Using these principles, people are creating comfortable, cozy environments which encourages prosperity and happiness. Because people are searching for peace and stability in this fast-moving world, the home has become an important sanctuary in cleansing and re-energizing the human spirit.

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Chinese Calligraphy(ShuFa)

2010
04.14

Calligraphy is understood in China as the art of writing a good hand with the brush or the study of the rules and techniques of this art. As such it is peculiar to China and the few countries influenced by ancient Chinese culture.

In the history of Chinese art, calligraphy has always been held in equal importance to painting. Great attention is also paid today to its development by holding exhibitions of ancient and contemporary works and by organizing competitions among youngsters and people from various walks of life. Sharing of experience in this field often makes a feature in Sino-Japanese cultural exchange.

Chinese calligraphy, like the script itself, began with the hieroglyphs and, over the long ages of evolution, has developed various styles and schools, constituting an important part of the heritage of national culture.

Chinese scripts are generally divided into five categories:
the seal character (zhuan), the official or clerical script (li), the regular script (kai), the running hand (xing) and the cursive hand (cao).

1) The zhuan script or seal character was the earliest form of writing after the oracle inscriptions, which must have caused great inconvenience because they lacked uniformity and many characters were written in variant forms. The first effort for the unification of writing, it is said, took place during the reign of King Xuan (827-782 B. C.) of the Western Zhou Dynasty, when his taishi (grand historian) Shi Zhou compiled a lexicon of 15 chapters, standardizing Chinese writing under script called zhuan. It is also known as zhouwen after the name of the author. This script, often used in seals, is translated into English as the seal character, or as the “curly script” after the shape of its strokes.

Shi Zhou’s lexicon (which some thought was written by a later author of the state of Qin) had long been lost, yet it is generally agreed that the inscriptions on the drum-shaped Qin stone blocks were basically of the same style as the old zhuan script.

When, in 221 B. C., Emperor Qin Shi Huang unified the whole of China under one central government, he ordered his Prime Minister Li Si to collect and sort out all the different systems of writing hitherto prevalent in different parts of the country in a great effort to unify the written language under one system. What Li did, in effect, was to simplify the ancient zhuan (small seal) script.

Today we have a most valuable relic of this ancient writing in the creator Li Si’s own hand engraved on a stele standing in the Temple to the God of Taishan Mountain in Shandong Province. The 2,200-year-old stele, worn by age and weather, has only nine and a half characters left on it.

2) The lishu (official script) came in the wake of the xiaozhuan in the same short-lived Qin Dynasty (221 – 207 B. C.). This was because the xiaozhuan, though a simplified form of script, was still too complicated for the scribes in the various government offices who had to copy an increasing amount of documents. Cheng Miao, a prison warden, made a further simplification of the xiaozhuan, changing the curly strokes into straight and angular ones and thus making writing much easier. A further step away from the pictographs, it was named lishu because li in classical Chinese meant “clerk” or “scribe”. Another version says that Cheng Miao, because of certain offence, became a prisoner and slave himself; as the ancients also called bound slaves “li”, so the script was named lishu or the “script of a slave”.

3) The lishu was already very close to, and led to the adoption of, kaishu, regular script. The oldest existing example of this dates from the Wei (220-265), and the script developed under the Jin (265-420). The standard writing today is square in form, non-cursive and architectural in style. The characters are composed of a number of strokes out of a total of eight kinds-the dot, the horizontal, the vertical, the hook, the rising, the left-falling (short and long) and the right-falling strokes. Any aspirant for the status of calligrapher must start by learning to write a good hand in kaishu.

4) On the basis of lishu also evolved caoshu (grass writing or cursive hand), which is rapid and used for making quick but rough copies. This style is subdivided into two schools: zhangcao and jincao.

The first of these emerged at the time the Qin was replaced by the Han Dynasty between the 3rd and 2nd centuries B. C. The 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 is said to have been developed by Zhang Zhi (?-c. 192 A. D.) of the Eastern Han Dynasty, flourished in the Jin and Tang dynasties and is still widely popular today.

It is the essence of the caoshu, especially jincao, that the characters are executed swiftly with the 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.

A great master at caoshu was Zhang Xu (early 8th century) of the Tang Dynasty, noted for the complete abandon with which he applied the brush. It is said that he would not set about writing until he had got drunk. This he did, allowing the brush to “gallop” across the paper, curling, twisting or meandering in one unbroken stroke, thus creating an original style. Today one may still see fragments of a stele carved with characters in his handwriting, kept in the Provincial Museum of Shaanxi.

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 the 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 a 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 in China, some of whom already show promises as worthy successors to the ancient masters.