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A beautifully curated presentation of the Thousand Character Essay, a masterpiece of Chinese calligraphy that has served as the art form's classic manual for over 1,400 years. Sung to infants as a lullaby, used to teach reading and writing, and employed as library index codes, the Thousand Character Essay is China's most widely used and beloved calligraphy textbook. Composed by the literary giant Zhou Xingsi and handwritten by sixth-century Buddhist monk Zhiyong, this masterful work has endured for centuries as the standard guide for brush writing both in formal and cursive scripts. Delight in One Thousand Characters brings this sublime body of art-as-text to English-speaking readers through its translation and explanation by calligraphers and artists Kazuaki Tanahashi and Susan O'Leary. Preserving the renowned beauty of monk Zhiyong's only extant handwriting, the book visually depicts the traditional script through extensive imagery, including a full, one-hundred-strip edition of Zhiyong's calligraphy. All images also have corresponding commentary explaining the meaning of each character. Essays and appendices by Tanahashi and O'Leary detail the fascinating history, geographic range, and aesthetic nuance of the essay and of Zhiyong's rendering--essential material to be familiar with the history, thought, literature, and art of East Asian civilization. For calligraphers, Delight in One Thousand Characters can serve as an advanced primer for practicing both formal and cursive Chinese calligraphy.
Rebecca Yue’s unique approach to calligraphy comes from years of teaching this ancient art. Most teachers prefer to demonstrate all of the basic brushstrokes before teaching you how to form words. However in Rebecca’s experience, students soon become bored with this method and fail to progress. Whilst teaching new brushstrokes, 'Chinese Calligraphy Made Easy' allows the reader to practise them, and brushstrokes learnt previously, by writing Chinese words. From this, the reader feels a sense of achievement and satisfaction at the end of every lesson – which, in turn, stimulates them to look forward to the next exercise. As the lessons progress, the words introduced become more complicated. When there are enough words to form phrases, projects are introduced. These include painting Chinese characters onto a bonsai pot, a t-shirt, a vase and making personalised greeting cards.
Chiang Yee’s Chinese Calligraphy: An Introduction to Its Aesthetic and Technique remains the classic introduction to Chinese calligraphy. In eleven richly illustrated chapters, Chiang explores the aesthetics and the technique of this art in which rhythm, line, and structure are perfectly embodied. He measures the slow change from pictograph to stroke to the style and shape of written characters by the great calligraphers. In addition to aesthetic considerations, the text deals with more practical subjects such as the origin and construction of the Chinese characters, styles, technique, strokes, composition, training, and the relations between calligraphy and other forms of Chinese art. Chinese Calligraphy is a superb appreciation of beauty in the movement of strokes and in the patterns of structure—and an inspiration to amateurs as well as professionals interested in the decorative arts.
Its history, techniques, aesthetics, and philosophy—with an in-depth practical guide to understanding and drawing 150 characters A guide to the history and enjoyment of Chinese and Japanese calligraphy that offers the possibility of appreciating it in a hands-on way—with step-by-step instructions for brushing 150 classic characters. This book is a comprehensive and accessible introduction to the history and art of calligraphy as it's been practiced for centuries in China, Japan, and elsewhere in Asia. It works as a guide for the beginner hoping to develop an appreciation for Asian calligraphy, for the person who wants to give calligraphy-creation a try, as well as for the expert or afficionado who just wants to browse through and exult in lovely examples. It covers the history and development of the art, then the author invites the reader to give it a try. The heart of the book, called "Master Samples and Study," presents 150 characters--from "action" to "zen"--each in a two-page spread. On each verso page the character is presented in three different styles, each one chosen for its beauty and identified by artist when possible. The character's meaning, pronunciation (in Chinese, Japanese, Korean, and Vietnamese), etymology, the pictograph from which it evolved, and other notes of interest are included. At the bottom of the page the stroke order is shown: the sequence of brush movements, numbered in their traditional order. On each facing recto page is Kaz's own interpretation of the character, full page.
A beautifully curated presentation of the Thousand Character Essay, a masterpiece of Chinese calligraphy that has served as the art form's classic manual for over 1,400 years. Sung to infants as a lullaby, used to teach reading and writing, and employed as library index codes, the Thousand Character Essay is China's most widely used and beloved calligraphy textbook. Composed by the literary giant Zhou Xingsi and handwritten by sixth-century Buddhist monk Zhiyong, this masterful work has endured for centuries as the standard guide for brush writing both in formal and cursive scripts. Delight in One Thousand Characters brings this sublime body of art-as-text to English-speaking readers through its translation and explanation by calligraphers and artists Kazuaki Tanahashi and Susan O'Leary. Preserving the renowned beauty of monk Zhiyong's only extant handwriting, the book visually depicts the traditional script through extensive imagery, including a full, one-hundred-strip edition of Zhiyong's calligraphy. All images also have corresponding commentary explaining the meaning of each character. Essays and appendices by Tanahashi and O'Leary detail the fascinating history, geographic range, and aesthetic nuance of the essay and of Zhiyong's rendering--essential material to be familiar with the history, thought, literature, and art of East Asian civilization. For calligraphers, Delight in One Thousand Characters can serve as an advanced primer for practicing both formal and cursive Chinese calligraphy.
As one of the most fascinating artistic form in the world, Chinese calligraphy has long been an area of interest to both novices and researchers. This easy-to-use guide introduces all the basic elements of the standard Chinese calligraphy script, Kaishu, with step-by-step instructions and diagrams for each of the 8 basic strokes.The purpose of this book is two-fold. On one had, it contains a short history of Chinese calligaphy and an introduction to Kaishu style, which embodies the very essense of the "Eastern arts" for those who find themselves interested in the arts of the Asian countries. On the other hand, for those who know about Chinese calligraphy and want to try their hand at it, the book, with Kaishu as a starting point, introduces the basic skills of the ancient and exquisite art of Chinese calligraphy. The rules and methods contained in the book will make the learning process easier with clear diagrams and images.
This new major reference work provides a comprehensive overview of linguistic phenomena in a variety of Sinitic languages in a global context, highlighting the dynamic interaction between these languages and English. This “living reference work” offers a window into the linguistic sphere in China and beyond, and showcases the latest research into diverse and evolving linguistic phenomena that have resulted from intensified interactions between the Sinophone world and other lingua-spheres. The Handbook is divided into five sections. The chapters in Section I (New Research Trends in Chinese Linguistic Research) present fast-growing research areas in Chinese linguistics, particularly those undertaken by scholars based in China. Section II (Interactions of Sinitic Languages) focuses on language-contact situations inside and outside China. The chapters in Section III (Meaning, Culture, Translation) explore the meanings of key cultural concepts, and how ideas move between Chinese and English through translation across various genres. Section IV (New Trends in Teaching Chinese as a Foreign Language) covers new ideas and practices relating to teaching the Chinese language and culture. The final section, Section V (Transference from Chinese to English), explores dynamic interactions between varieties of Chinese and varieties of English, as they play out in multilingual sites and settings