Japanese hiragana syllabogram て is based on the cursive form of the Japanese kanji 天 (heaven). If you look at the diagram above, you will notice a gradual simplification and reduction of brush strokes of the Chinese character 天, starting from the standard script (楷書), through the semi-cursive script (行書), to the cursive script (草書). Syllabogram て is a simplification of the cursive script form of 天, and it follows the same stroke order. Japanese hiragana syllabogram つ is based on the cursive form of the Japanese kanji 川 (river). If you look at the diagram above, you will notice a gradual simplification and reduction of brush strokes of the Chinese character 川, starting from the standard script (楷書), through the semi-cursive script (行書), to the cursive script (草書). Syllabogram つ is a simplification of the cursive script form of 川, and it follows the same stroke order. Japanese hiragana syllabogram ち is based on the cursive form of the Japanese kanji 知 (wisdom). If you look at the diagram above, you will notice a gradual simplification and reduction of brush strokes of the Chinese character 知, starting from the standard script (楷書), through the semi-cursive script (行書), to the cursive script (草書). Syllabogram ち is a simplification of the cursive script form of 知, and it follows the same stroke order. Japanese hiragana syllabogram た is based on the cursive form of the Japanese kanji 太 (fat). If you look at the diagram above, you will notice a gradual simplification and reduction of brush strokes of the Chinese character 太, starting from the standard script (楷書), through the semi-cursive script (行書), to the cursive script (草書). Syllabogram た is a simplification of the cursive script form of 太, but the initial stroke order of 太 in cursive script starts from a different position than the initial stroke in た. Japanese hiragana syllabogram そ is based on the cursive form of the Japanese kanji 曽 (formerly, once). If you look at the diagram above, you will notice a gradual simplification and reduction of brush strokes of the Chinese character そ, starting from the standard script (楷書), through the semi-cursive script (行書), to the cursive script (草書). Syllabogram そ is a simplification of the cursive script form of 曽, and it follows the same stroke order. Japanese hiragana syllabogram せ is based on the cursive form of the Japanese kanji 世 (generation, world). If you look at the diagram above, you will notice a gradual simplification and reduction of brush strokes of the Chinese character 世, starting from the standard script (楷書), through the semi-cursive script (行書), to the cursive script (草書). Syllabogram せ is a simplification of the cursive script form of 世, and it follows the same stroke order. Japanese hiragana syllabogram す is based on the cursive form of the Japanese kanji 寸 (measurement, approx. 3.03cm). If you look at the diagram above, you will notice a gradual simplification and reduction of brush strokes of the Chinese character 寸, starting from the standard script (楷書), through the semi-cursive script (行書), to the cursive script (草書). Syllabogram す is a simplification of the cursive script form of 寸, and it follows the same stroke order. Japanese hiragana syllabogram し is based on the cursive form of the Japanese kanji 之 (of, this). If you look at the diagram above, you will notice a gradual simplification and reduction of brush strokes of the Chinese character 之, starting from the standard script (楷書), through the semi-cursive script (行書), to the cursive script (草書). Syllabogram し is a simplification of the cursive script form of 之, and it follows the same stroke order. Japanese hiragana syllabogram さ is based on the cursive form of the Japanese kanji 左 (left, left hand side). If you look at the diagram above, you will notice a gradual simplification and reduction of brush strokes of the Chinese character 左, starting from the standard script (楷書), through the semi-cursive script (行書), to the cursive script (草書). Syllabogram さ is a simplification of the cursive script form of 左, and it follows the same stroke order. Japanese hiragana syllabogram こ is based on the cursive form of the Japanese kanji 己 (self, snake). If you look at the diagram above, you will notice a gradual simplification and reduction of brush strokes of the Chinese character 己, starting from the standard script (楷書), through the semi-cursive script (行書), to the cursive script (草書). Syllabogram こ is a simplification of the cursive script form of 己, and it follows the same stroke order. Japanese hiragana syllabogram け is based on the cursive form of the Japanese kanji 計 (plot, plan). If you look at the diagram above, you will notice a gradual simplification and reduction of brush strokes of the Chinese character 計, starting from the standard script (楷書), through the semi-cursive script (行書), to the cursive script (草書). Syllabogram け is a simplification of the cursive script form of 計, and it follows the same stroke order. Japanese hiragana syllabogram く is based on the cursive form of the Japanese kanji 久 (long time, old story). If you look at the diagram above, you will notice a gradual simplification and reduction of brush strokes of the Chinese character 久, starting from the standard script (楷書), through the semi-cursive script (行書), to the cursive script (草書). Syllabogram く is a simplification of the cursive script form of 久, and it follows the same stroke order. Japanese hiragana syllabogram き is based on the cursive form of the Japanese kanji 幾 (several, some). If you look at the diagram above, you will notice a gradual simplification and reduction of brush strokes of the Chinese character 幾, starting from the standard script (楷書), through the semi-cursive script (行書), to the cursive script (草書). Syllabogram き is a simplification of the cursive script form of 幾, and it follows the same stroke order. Japanese hiragana syllabogram か is based on the cursive form of the Japanese kanji 加 (addition, increase). If you look at the diagram above, you will notice a gradual simplification and reduction of brush strokes of the Chinese character 加, starting from the standard script (楷書), through the semi-cursive script (行書), to the cursive script (草書). Syllabogram か is a simplification of the cursive script form of 加, and it follows the same stroke order. Japanese hiragana syllabogram お is based on the cursive form of the Japanese kanji 於 (at, in). If you look at the diagram above, you will notice a gradual simplification and reduction of brush strokes of the Chinese character 於, starting from the standard script (楷書), through the semi-cursive script (行書), to the cursive script (草書). Syllabogram お is a simplification of the cursive script form of 於, and it follows the same stroke order. Note: The Chinese character 於 may have a different appearance in the handwritten form (as shown in the diagram) Japanese hiragana syllabogram え is based on the cursive form of the Japanese kanji 衣 (clothes). If you look at the diagram above, you will notice a gradual simplification and reduction of brush strokes of the Chinese character 衣, starting from the standard script (楷書), through the semi-cursive script (行書), to the cursive script (草書). Syllabogram え is a simplification of the cursive script form of 衣, and it follows the same stroke order. Japanese hiragana syllabogram う is based on the cursive form of the Japanese kanji 宇 (eaves, roof). If you look at the diagram above, you will notice a gradual simplification and reduction of brush strokes of the Chinese character 宇, starting from the standard script (楷書), through the semi-cursive script (行書), to the cursive script (草書). Syllabogram う is a simplification of the cursive script form of 宇, and it follows the same stroke order. Japanese hiragana syllabogram い is based on the cursive form of the Japanese kanji 以 (by means, because of). If you look at the diagram above, you will notice a gradual simplification and reduction of brush strokes of the Chinese character 以, starting from the standard script (楷書), through the semi-cursive script (行書), to the cursive script (草書). Syllabogram い is a simplification of the cursive script form of 以, and it follows the same stroke order. Japanese hiragana syllabogram あ is based on the cursive form of the Japanese kanji 安 (relax / cheap). If you look at the diagram above, you will notice a gradual simplification and reduction of brush strokes of the Chinese character 安, starting from the standard script (楷書), through the semi-cursive script (行書), to the cursive script (草書). Syllabogram あ is a simplification of the cursive script form of 安, and it follows the same stroke order. To view the part 3 (a) of this tutorial, as well as other tutorials on Chinese calligraphy scripts, please navigate to the calligraphy tutorials menu. To understand the differences between the clerical script (隷書) and the standard script (楷書) one has to learn about the origins of the scripts of Chinese calligraphy. Clerical script evolved from seal script (篆書), whereas standard script evolved from clerical script. There are many types of dots in clerical script, and they differ in the way of writing (the brush operating method) and, consequently, the shape. The type of dots shown in the diagram above, are remnants of the seal script form of certain strokes or radicals in seal script. The positioning of such dots, and their length or shape may be different, but they remain connected to the main structure of the character. In case of 武 (warrior), the dot in the top right-hand corner (the same that is written as a last stroke of the character - see below movie for details), was originally attached to the top part of the right slanting sweep stroke (written as second stroke in the video). Now, the 戈 in 武 is the pictograph of a long Chinese spear (鉾), and the dot stroke that you see in the clerical and standard script forms of 武 are the pictographic elements of the base of the spear blade.
More tutorials on clerical script can be found here. Generally speaking, the structure of Chinese characters in clerical script (隷書) is squat, and horizontally rectangular. However, this rule mainly applies to the mature clerical script (八分隷). The characters in ancient clerical script (古隷) were often oblong, just like the script they evolved from - the seal script (篆書). In addition, the initial oblong structures of characters was imposed by the material they were written on - the long bamboo slips (木簡), although there4 were exceptions. One needs to remember that wooden slips were the most common writing material (aside silk), until the invention of paper around 3rd century B.C.E. The so called Age of Bamboo Slips lasted for some 2000 years. Together with the appearance of the silkworm head and goose tail strokes (蠶頭雁尾) in clerical script, the characters become wider and flatter. If you compare the shape of the character 天 (sky / void) in standard script (楷書) and clerical script (see the picture, above, and the video, below), you will surely notice the substantial structural differences The balancing of the clerical script is also different. Most of the vertical stroke are not only parallel to one another, but also at 90 degrees (or nearly 90 degrees) to the vertical strokes. Most of the greatest masterpieces of Chinese calligraphy were written in mature clerical script, during the Han Dynasty (漢朝, 206 BC – 220 C.E.). For this reason the structure of clerical script is mostly remembered as wide and squat.
To view my other tutorials on Chinese & Japanese calligraphy please visit the learn calligraphy section. The stroke order in Chinese calligraphy is a very complex issue. It differs from country to country. China, Japan, Taiwan and Korea may use a different stroke order for the same character. For instance, the grass radical 艹 starts with the left-hand side vertical stroke in Chinese calligraphy, but in Japanese calligraphy the stroke order begins with the vertical line. Further, each of the five core calligraphy scripts have or may have different stroke order. If you look on my tutorials on cursive script, you will notice at least two rules out of ten which clearly indicate possibility of altering the stroke order, not only in relation to regular script (楷書), but within the cursive script itself. Clerical script stroke order is somewhere between seal script (篆書), which has very loose and not well defined stroke order to begin with, and the standard script (楷書). Because the clerical script evolved from the seal script, naturally some radicals follow not only the stroke order, but also the shape of the same in seal script. For instance, the stroke order in 口 (mouth / ritual vessel) is based on the way of writing 口 in seal script (see diagram or the video). Some of the older clerical script texts may even contain forms of 口 that look s exactly like the one written in seal script. It is impossible to lay down the stroke order rules in a short article, probably a book would not be able to cover those either. The only way of learning the proper stroke order is via studying the character structures in the ancient masterpieces. Comparing the forms of seal and clerical script of the same character, we can deduce the stroke order. On the other hand, stroke order in clerical script is much more relaxed and not as well defined as the stroke order in regular script. Certain radicals may have more strokes in clerical script that they have in regular script. In the case of 阿 (Japanese meaning: corner / nook), the 阝 (left village radical) radical, it has 3 strokes in clerical script and also 3 in standard script. However, the seal script form of this radical can have as many as 7 strokes.
In my upcoming tutorials on clerical script I will be coming back to the issue of stroke order numerous times. For the sake of a conclusion, I can say that the best way of learning the stroke order and the stroke number of characters, is to start with the standard script first, then semi-cursive, cursive, and finally clerical together with seal script. Stroke order may seem like a trivial issue, but it is the essential knowledge required for being able to write powerful calligraphy. The stroke order dictates the flow, the rhythm, the balance, the structure and, in result, the composition of the whole work. Learn it is as important as learning the brush operating techniques. So, learn it well. To read more about and watch my other Chinese calligraphy tutorials on cursive script, please click here. The 9th general rule of writing in cursive script (草書) allows us for altering the stroke order of the brush strokes. Stroke order is essential for the balance, structure and composition of Chinese calligraphy (the same goes to Japanese calligraphy). The most rigid stroke order is applied in standard script (楷書). Cursive script's stroke order is maybe not more relaxed, but the rules can be, and usually are, different. This does not mean that writing in cursive script is less restricted than in other scripts. This is a common mistake of basically anyone who begins to learn Chinese calligraphy, and when he or she sees the "simple" forms of the characters in cursive script, erroneously believes that it must be an easy script to execute. This is a very dangerous path to walk, as it will lead you to making, repeating and memorizing your own mistakes, resulting in a weak calligraphy style (書風). To intuitively sense the correct stroke order in cursive script, one has to learn the standard, semi-cursive (行書) and clerical (隷書) scripts first. There are many exceptions of the general rules of writing in cursive script, and they only make sense and are allowed in this script. I plan on making some tutorial videos on this subject as well. In the video (above) I am writing two Chinese characters in cursive script. One is the 山 (mountain), and the second one is 空 (sky / void). In standard script the stroke order of 山 begins with the middle vertical line. In cursive script it CAN begin with the left-hand side vertical line. In the case of the character 空, the first stroke in standard script would be the dot. Again, the flow of the cursive script suggests us to begin writing with the "roof" radical (宀). However, unlike in standard script where the writing of 空 MUST begin with the dot radical (点), in cursive script we have a (limited) freedom of choice. This choice is made during writing, based on the overall composition, flow, form of the character (characters in cursive script may have many forms), etc.
To view part 1 and part 2, please visit learn calligraphy section, regarding the small seal script (小篆). The key brush operating technique applied in writing of the small seal script, is so called "hidden spear" (藏鋒). The spear is a reference to the tip of the brush, and "to hide the spear" means to conceal the brush tip inside the brush stroke (in the centre of the line) during writing. By doing so, it is possible to maintain equal thickness of the line, even while writing curved strokes. Small seal script brush stroke structure and its appearance is more supple than the one of the great seal script (大篆). There are many curves, and most characters have a symmetrical construction. Maintaining the uniform thickness of lines is one of the things to pay attention to during studies. To read about the other rules of writing Chinese calligraphy in cursive script, please see my other tutorials. Writing in cursive script (草書) follows a unique set of rules, and those rules often allow the calligrapher to write Chinese characters in a way, which differs greatly from those that are applied in standard script (but not only). Sometimes, maintaining the flow of writing is more important that following the exact structure of the character. In other words, if the stroke order or even the positioning of a given stroke would cause us to break the energy flow and the rhythm during writing, it is (sometimes) permitted to reposition such strokes, within given Chinese character. This is a very important rule, as it clearly indicates that the composition, the flow of energy (行気), the power of strokes and the logical order of writing in cursive script, can be more important than the structure of the character. Application of this rule requires a wide knowledge of many aspects of writing in cursive script, including the so called unbroken line (連綿体, i.e. the implicit or explicit connection between characters within the calligraphy text). I will write a separate article on the importance of the unbroken line in the Chinese and Japanese calligraphy.
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AuthorPonte Ryuurui (品天龍涙) Archives
August 2020
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