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Semi-cursive script

Semi-cursive script, also known as running script (xíngshū 行书), is a style of Chinese calligraphy that bridges the legibility of regular script and the fluidity of fully cursive forms, allowing for efficient writing while maintaining readability through connected strokes and simplified character structures.^[1]^[2] It emerged during the Han dynasty (206 BCE–220 CE) as an evolution from clerical script, initially to accelerate handwriting for administrative purposes, and features characteristics such as linked brushstrokes, reduced radicals, and borrowed elements from adjacent character parts.^[1]^[3]^[2] This script gained prominence in the post-Han period, particularly during the Jin dynasty (265–420 CE), where it became a vehicle for artistic expression and personal style, contrasting with more rigid forms like seal or clerical scripts.^[4]^[1] Key innovators include Liu Desheng in the Eastern Han, who pioneered early forms.^[3]^[2] By the Eastern Jin, masters like Wang Xizhi (303–361 CE) and his son Wang Xianzhi (344–386 CE) elevated it to a pinnacle of elegance, as seen in seminal works such as the Orchid Pavilion Preface (353 CE), which exemplifies its rhythmic, wave-like motion and emotional depth.^[3]^[1]^[4] Further development occurred across dynasties, with notable contributions in the Tang (618–907 CE), Song (960–1279 CE), and Ming (1368–1644 CE) eras by calligraphers such as Yan Zhenqing, Su Shi, and Wen Zhengming, who advanced its expressive and artistic qualities.^[3]^[1]^[5] Semi-cursive script was adopted in Japanese (gyōsho) and Korean calligraphy traditions, remaining a fundamental style in East Asian calligraphy education and practice. It is valued for its versatility in both practical writing—such as letters and notes—and fine art, where it allows calligraphers to convey rhythm, vitality, and individuality through dynamic brushwork.^[3]^[2] It exists in sub-variations, including running-regular (more legible) and running-grass (more abbreviated), influencing modern adaptations in digital fonts and contemporary art.^[3]

History

Origins in China

The semi-cursive script, known as xingshu or running script in Chinese calligraphy, emerged during the late Eastern Han dynasty (25–220 CE) as a practical intermediary between the more rigid clerical script (lishu) and the highly abbreviated ancient cursive script (zhangcao). This development addressed the need for faster writing in daily administrative tasks while preserving essential legibility for official records, such as bamboo-slip documents used in government correspondence and inventories. Attributed to the scholar Liu Desheng during the reigns of Emperors Huan (r. 146–168 CE) and Ling (r. 168–189 CE), it incorporated simplified strokes from clerical script, allowing scribes to connect characters fluidly without fully sacrificing recognizability.^[6] Influenced by earlier scripts like the ornate seal script (zhuanshu) of the Qin and early Han eras, semi-cursive script adapted their structural elements—such as rounded forms and horizontal emphasis—into a more streamlined version suitable for personal letters and informal notes on silk or paper. For instance, in Han-era personal missives unearthed from sites like Juyan, the script's abbreviated yet connected strokes facilitated quicker composition compared to the blocky clerical style used in formal edicts, blending efficiency with aesthetic flow. This adaptation reflected the transition from monumental inscriptions to practical handwriting, where seal script's decorative curves were tempered by clerical script's flat, wave-like horizontals to suit both bureaucratic memos and private exchanges. The script gained widespread popularization during the Jin dynasty (265–420 CE), particularly through informal handwriting styles that emphasized expressive rhythm over strict form, as exemplified by the works of Wang Xizhi (303–361 CE), who refined its elegance in pieces like the Lanting Xu preface. Despite its growing use in elite correspondence and literary drafts, semi-cursive script initially lacked formal standardization, remaining a fluid, practitioner-driven style until later codification in Tang dynasty treatises, such as Sun Guoting's (c. 646–691 CE) Shupin, which analyzed its structural principles alongside other scripts. This evolution marked its shift from utilitarian tool to artistic medium within Chinese calligraphic traditions.

Adoption in Japan

Chinese calligraphic styles, including the semi-cursive script known in Japanese as gyōsho (行書), were introduced to Japan around the 6th century during the Asuka period (538–710 CE), primarily through immigrants from the Korean kingdom of Baekje and the importation of Buddhist texts. Scholarly immigrants such as Wani brought foundational Chinese writing systems, including various calligraphic styles, to facilitate the transcription of Confucian classics and Buddhist sutras. The arrival of Buddhism in 552 CE accelerated this adoption, as the demand for copying sacred texts in elegant scripts like semi-cursive—valued for its fluid efficiency—spread among the nobility and immigrant scribes. Initially, writing was largely performed by these immigrants, but by the 7th century, Japanese elites began learning the script to engage with continental knowledge.^[7]^[8] During the Heian period (794–1185 CE), gyōsho evolved into a distinctly Japanese style called wayōshodō, emphasizing aesthetic harmony with native sensibilities, as exemplified by calligrapher Ono no Michikaze (894–966 CE), one of the "Three Brushes" (Sanseki). This semi-cursive form influenced the development of hiragana and katakana, which emerged from abbreviated, cursive renditions of kanji to phonetically represent Japanese grammar and sounds, particularly in women's literature and courtly expression. Gyōsho's connected strokes and reduced formality facilitated these adaptations, allowing for smoother integration of kanji with the new syllabaries in mixed-script writing (kanbun kundokutai).^[9] In classical literature and court documents, gyōsho played a central role, offering a balance of readability and artistry suitable for official records and poetic works. It was commonly employed in imperial edicts and administrative texts, where its running style conveyed authority with subtle elegance, as seen in Heian-era scrolls. For waka poetry—the 31-syllable form central to court culture—semi-cursive styles for kanji complemented hiragana in mixed-script presentations, contributing to the visual and thematic expression in collections like the Kokin Wakashū (905 CE). This usage reflected the script's adaptation to Japanese phonetics and aesthetics, distinguishing it from rigid Chinese models.^[9] The Kamakura period (1185–1333 CE) marked a pivotal shift with the rise of Zen Buddhism, particularly the Rinzai school introduced by monks like Eisai (1141–1215 CE), which promoted gyōsho's aesthetic and spiritual dimensions. Zen practitioners valued the script's spontaneous, meditative brushwork in bokuseki (ink-trace calligraphy), using it for koans and sutras to embody enlightenment. This influence elevated gyōsho beyond utility, fostering its use in Zen monasteries and samurai culture, where it symbolized disciplined yet fluid expression.^[10]^[9]^[11]

Development in Korea

The semi-cursive script, known as haengseo (行書) in Korean, was adopted in Korea during the Three Kingdoms period (57 BCE–668 CE), with its use becoming prominent among the elite from the 3rd century AD onward, influenced by Chinese migrants and cultural exchanges that introduced hanja (Chinese characters) as the primary writing system.^[12] This adaptation occurred alongside the broader importation of Chinese bureaucratic and scholarly practices, allowing haengseo's fluid yet legible style—characterized by connected strokes and abbreviated forms—to facilitate faster writing compared to the more rigid standard script (haeseo). Early examples appear in inscriptions on artifacts from the period, reflecting its role in recording administrative and ritual texts.^[13] During the Joseon dynasty (1392–1910), haengseo gained widespread prominence as a practical script for official records, scholarly notes, and mixed hanja-Hangul texts, often employed by yangban (elite scholar-officials) for its balance of efficiency and aesthetic appeal. It was particularly valued in documentation such as royal annals and personal correspondence, where its semi-connected forms allowed for rapid transcription while maintaining readability, as seen in works by masters like Gim Jeonghui (1786–1856), who developed the bold Chusache style during his exile.^[13] Following the invention of Hangul in 1443 by King Sejong, haengseo integrated into emerging mixed-script practices, where its hanja forms provided semantic content complemented by Hangul for phonetic annotations of Korean readings, aiding accessibility in educational and literary materials without fully supplanting hanja dominance among the educated class.^[14] Haengseo's everyday utility persisted into the modern era, but its prominence waned in the 20th century amid aggressive promotion of Hangul as a national script, especially post-1945 liberation from Japanese rule, when policies in South Korea restricted hanja in education and media to foster linguistic independence and literacy. By the 1980s, formal hanja education was limited, leading to a sharp decline in haengseo's routine use, though it endures in artistic calligraphy, archival preservation of historical documents, and cultural expressions like film props and exhibitions.^[15]

Characteristics

Structural Features

Semi-cursive script, also known as xingshu or running script, features condensed and fluid strokes that connect partially within characters, enabling a natural flow of the brush without complete detachment from the paper.^[16] This joining of consecutive strokes shapes the entry and exit points of individual elements, reducing the frequency with which the brush lifts compared to regular script, and results in characters that appear rounder and less angular.^[3]^[17] Character forms in semi-cursive script are simplified, with reduced complexity in radicals and occasional elongation of horizontals to create rhythmic movement, while avoiding the shorthand abbreviations typical of fully cursive styles.^[3] These forms maintain a balance between the formality of regular script (kaishu) and the informality of cursive script (caoshu), preserving legibility for rapid writing while allowing expressive fluidity.^[18] Accurate rendering requires prior mastery of regular script, as semi-cursive relies on its foundational structures for coherence.^[18] Distinctive traits include wave-like endings on strokes and variable thickness achieved through brush pressure and speed, which convey a sense of movement and dynamism across the composition.^[17] Strokes exhibit variations in length, angle, and curvature, with horizontals often thickened for emphasis, further enhancing the script's rhythmic and graceful appearance.^[3]^[18]

Comparison to Other Scripts

Semi-cursive script, also known as running script, contrasts with regular script through its more abbreviated and connected strokes, which prioritize writing efficiency over the precision and isolation of strokes found in the latter. In regular script, characters are formed with distinct, angular separations between strokes, ensuring maximum legibility for formal and printed applications such as books and inscriptions.^[19] This results in semi-cursive's brush lifting less frequently within characters, allowing for a looser, faster execution that retains overall recognizability but sacrifices some structural rigidity.^[20] For example, a character like "person" (人) in regular script features sharply defined horizontal and vertical lines, whereas in semi-cursive, these lines flow more continuously, reducing pauses and enhancing fluidity.^[21] In comparison to full cursive script, or grass script, semi-cursive employs fewer abbreviations and merged strokes, making it more legible and less prone to interpretive ambiguity. Grass script drastically simplifies forms by linking multiple strokes into single, sweeping motions—often reducing a complex character from numerous distinct elements to one continuous line—requiring specialized training for comprehension.^[22] Semi-cursive, by contrast, connects strokes selectively within characters while typically lifting the brush between them, preserving enough conventional structure to be readable by those familiar with regular script without descending into grass script's highly abstract and spontaneous style.^[20] This positions semi-cursive as a practical midpoint, balancing expressiveness with accessibility in everyday handwriting.^[21] Relative to clerical script, semi-cursive introduces cursive fluidity to accelerate writing, departing from the former's archaic angularity, flared endpoints, and horizontal emphasis suited to official Han dynasty documents and engravings. Clerical script's bold, modulated strokes create a squatter, more geometric silhouette optimized for chisel work on stone, emphasizing formality over speed.^[19] Semi-cursive evolves this base by rounding forms and merging select elements, yielding a more vertical, dynamic appearance that facilitates quicker brushwork while avoiding clerical's deliberate rigidity.^[20] As an intermediate style among the five principal Chinese scripts—seal, clerical, regular, running (semi-cursive), and cursive—semi-cursive bridges the structured clarity of regular script and the liberated flow of cursive, facilitating a spectrum of efficiency in calligraphic practice. Seal and clerical scripts represent earlier, more ornamental phases with intricate curves and bold flares, respectively, while regular script standardizes proportions for legibility.^[19] Semi-cursive intervenes by partially linking regular script's isolated strokes, as seen in variations where a character's components shift from discrete blocks to gently interconnected paths, further abstracted in cursive's near-elision of boundaries.^[21] This hierarchical role underscores its utility in transitioning from formal documentation to personal expression across Chinese calligraphic evolution.^[20]

Notable Examples and Figures

Iconic Works

One of the most revered artifacts in semi-cursive script is Wang Xizhi's Lantingji Xu (Preface to the Poems Collected from the Orchid Pavilion), composed in 353 CE during a gathering of scholars at the Orchid Pavilion in present-day Zhejiang Province, China. This work exemplifies the pinnacle of xingshu (semi-cursive or running script) through its fluid, expressive strokes that convey spontaneity and rhythmic vitality, with characters varying in structure and spacing to mimic natural movement and philosophical reflection on life's transience. Revered as the archetype of semi-cursive calligraphy, it blends clerical traditions with cursive elements, influencing generations of artists for its balance of elegance and emotional depth.^[23]^[24] In Japan, during the Heian period (794–1185), Ono no Michikaze's calligraphy represents a key adaptation of semi-cursive script, known as gyōsho, blending Chinese influences with native waka poetry aesthetics. His works, such as fragments of poetic scrolls like the Gyokusen-shō, feature flowing lines that integrate rhythmic grace with Japanese sensibilities, marking the emergence of distinctly Japanese calligraphic forms amid courtly literary culture. These pieces exemplify how gyōsho facilitated expressive, practical writing in literary contexts, influencing subsequent developments in shodō.^[25] Korean artifacts from the Joseon dynasty (1392–1910) showcase semi-cursive hanja usage in practical documents like memorials, balancing functionality with aesthetic elegance. For instance, calligraphic screens and inscriptions in xingshu by scholars such as Yun Yong-gu (1852–1939) employ connected strokes for official correspondence and commemorative texts, reflecting Neo-Confucian values through refined, legible forms that adapted Chinese styles to Korean administrative needs. These examples highlight semi-cursive script's role in Joseon bureaucracy and cultural preservation.^[26]

Prominent Calligraphers

Wang Xizhi (303–361 CE), often revered as the "Sage of Calligraphy," profoundly influenced the development of semi-cursive script (xingshu) through his innovative blending of clerical and semi-cursive traditions from the Later Han dynasty, creating a fluid and natural style that emphasized rhythmic flow and emotional expressiveness.^[24] His seminal work, the Lantingji Xu (Preface to the Orchid Pavilion Gathering), exemplifies this approach, establishing enduring standards for semi-cursive's legibility and artistic vitality that later calligraphers emulated across East Asia.^[27] By prioritizing personal intuition over rigid structure, Wang shifted semi-cursive toward greater individual interpretation, influencing its evolution as a medium for scholarly and poetic expression.^[28] In Japan, during the Heian period, Fujiwara no Sukemasa (944–998) advanced semi-cursive (gyōsho) by adapting Chinese influences into a more liberated wayō style, characterized by softer, freer forms that balanced readability with aesthetic elegance.^[29] As one of the Sanseki (Three Great Brushes), alongside Ono no Michikaze and Fujiwara no Yukinari, Sukemasa's contributions emphasized personal flair in stroke variation, fostering semi-cursive's role in courtly poetry and documents while infusing it with Japanese minimalism.^[30] Later, in the Edo period, Ike no Taiga (1723–1776) further refined semi-cursive through his karayō (Chinese-style) calligraphy, incorporating Zen-inspired minimalism with abbreviated strokes and expansive spacing to evoke natural harmony and introspection.^[31] Taiga's approach highlighted personal expression by merging semi-cursive with literati painting, allowing the script to convey philosophical depth beyond mere transcription.^[32] In Korea, Kim Jeong-hui (1786–1856), a leading Joseon dynasty calligrapher under the pen name Chusa, mastered semi-cursive among other styles, innovating with angular, varied-thickness lines that prioritized bold personal expression over conventional rules.^[33] His haengseo contributions, seen in transcriptions and scholarly texts, advanced the script's evolution by blending antique simplicity with dynamic energy, influencing modern Korean calligraphy practices.^[34]

Uses

Artistic Applications

Semi-cursive script, known as xingshu in Chinese, gyōsho in Japanese, and haengseo in Korean, serves as a primary medium in East Asian calligraphy, an esteemed visual art form that emphasizes aesthetic harmony and expressive brushwork. This script is prominently featured in handscrolls, hanging scrolls, and inscriptions, where its fluid connections between characters and varying stroke densities create dynamic compositions appreciated for their artistic merit rather than mere legibility. For instance, works like Mi Fu's Poem Written in a Boat on the Wu River (ca. 1095) exemplify its use in handscrolls, showcasing rhythmic flow that captures the poet's vitality.^[35] Similarly, Korean examples include couplets in haengseo, such as those in the Harvard Art Museums' collection, highlighting its role in creating visually compelling artifacts for display.^[36] In literary arts, semi-cursive script integrates seamlessly with East Asian poetry and prose, where the script's stroke dynamics—ranging from bold, wet-ink marks to lighter, drier fades—enhance the emotional rhythm and philosophical depth of the text. Calligraphers employ this style to mirror the cadence of verses, as seen in Huang Tingjian’s Poem on the Hall of Pines and Wind, where the linking strokes evoke narrative momentum and personal temperament.^[35] In Japanese shodō, gyōsho similarly infuses haiku and waka poetry with a sense of movement, transforming written words into meditative expressions of impermanence.^[37] This application underscores calligraphy's status as a bridge between literature and visual art, prioritizing the artist's inner state over rigid form.^[38] The script also influences traditional design elements across East Asia, appearing on book covers, personal seals, and decorative fans to add elegance and cultural resonance. In seal carving, gyōsho-tai lends graceful, streamlined strokes that symbolize fluidity and refinement, often used in artistic signatures on paintings and scrolls.^[39] For fans and covers, its abbreviated yet connected forms provide a balanced aesthetic, as in Chinese hanging art like Zhao Zhiqian’s couplets in running script, where the script's vitality complements ornamental motifs.^[35] These applications extend the script's artistic reach beyond standalone pieces, embedding it in everyday cultural objects while maintaining a sense of artistic intentionality.^[16] Semi-cursive script holds profound cultural significance in festivals and rituals, particularly through its use in New Year couplets that adorn doorways for prosperity and harmony. In China, xingshu is favored for chunlian during the Spring Festival, its running style conveying auspicious wishes with lively energy, as noted in traditional collections of couplets.^[40] Japanese adaptations appear in similar ritual writings, such as kadomatsu inscriptions or poetic dedications, where gyōsho captures seasonal renewal.^[41] In Korea, haengseo couplets similarly feature in Seollal celebrations, reinforcing communal bonds through shared artistic expression.^[36] This ritualistic employment elevates the script as a vessel for collective identity and spiritual invocation.^[42]

Practical and Modern Uses

Semi-cursive script, also known as running script (xingshu in Chinese, gyōshō in Japanese, and haengseo in Korean), has long served practical purposes due to its balance of speed and legibility, allowing for efficient writing in letters, notes, and ledgers during historical periods when rapid documentation was essential.^[16] This efficiency stems from its condensed strokes and linking connections, which reduce the time required compared to more rigid regular script while remaining readable.^[43] In contemporary East Asia, these traits persist in informal handwriting, where native speakers often employ semi-cursive forms for everyday tasks like note-taking, signing documents, or personal correspondence, reflecting its enduring status as the dominant style for freehand writing.^[16] In education across China, Japan, and Korea, semi-cursive script plays a key role in calligraphy curricula, bridging the structured regular script and the more fluid cursive styles to build foundational skills in stroke order and character formation.^[44] School programs and extracurricular classes introduce it as a transitional tool, helping students progress from basic printing to expressive writing while fostering cultural appreciation of East Asian literary traditions.^[19] For instance, in Chinese primary education, it facilitates faster writing techniques that support literacy development without sacrificing clarity.^[44] Modern adaptations have integrated semi-cursive script into digital tools, enhancing its accessibility for practice and application. Fonts like Zhi Mang Xing, modeled after calligrapher Wei Zhimang's handwriting, enable designers to incorporate authentic running script into software for typography and visual projects. Handwriting practice apps, such as Skritter, support tracing and recognition of semi-cursive forms, allowing learners to simulate brush movements on tablets or screens to refine their technique.^[45] In graphic design, particularly for branding in China, Japan, and Korea, semi-cursive elements appear in logos and advertisements to evoke tradition and fluidity, as seen in contemporary typeface designs that draw on calligraphic heritage for cultural resonance.^[46] Post-20th-century revival efforts have sustained semi-cursive script's relevance amid script reforms and technological shifts. In China, the adoption of simplified characters in the 1950s incorporated elements from running script's streamlined forms to promote literacy, reducing stroke complexity in over 2,000 characters while preserving recognizability.^[47] Hanzi recognition software, like NJStar Chinese Pen, accommodates semi-cursive handwriting inputs, enabling users to write fluidly on devices for input and verification in daily digital interactions.^[48] This resurgence, fueled by cultural preservation movements, has positioned semi-cursive script in modern contexts, from educational apps to branding that blends tradition with innovation.^[49]

Conventions

Stroke Techniques

In semi-cursive script, also known as running script or xingshu, stroke linking forms a core technique by joining the endpoints of adjacent strokes within characters through light, sweeping motions that ensure visual and kinetic continuity. This method reduces pauses between strokes, allowing the brush to flow seamlessly, as seen in characters like 三, where horizontal lines connect via subtle extensions, or 文, where vertical and horizontal elements link through tapering endpoints.^[50] Such connections vary in overtness; for instance, in 小, the linkage is implied through corresponding tapering rather than direct overlap, preserving legibility while enhancing rhythmic flow.^[50] Stroke merging and simplification further distinguish semi-cursive execution by combining similar strokes or omitting minor elements to promote brevity and speed without sacrificing essential form. Multiple horizontal strokes in a character may merge into a single elongated line, with only the longest receiving full pressure while others are abbreviated by skipping initial presses.^[50] For example, in characters like 和 or 福, a down-left stroke and adjacent dot combine into one fluid motion, and vertical lines may convert to dots, as in 以, where a tick-marked line simplifies to a single point.^[50] These adaptations, developed from Han dynasty practices, enable faster writing while maintaining structural integrity, though they demand familiarity with regular script foundations to avoid illegibility.^[51] Order modifications in semi-cursive script introduce flexibility in stroke sequencing to sustain momentum and artistic expression, diverging from the rigid top-to-bottom, left-to-right rules of regular script. Enclosing strokes may precede internal ones, or sequences reverse for efficiency, such as writing the vertical before horizontals in 王 to facilitate continuous brush movement.^[50] This adaptability, without fixed standards, allows calligraphers to prioritize flow, as evidenced in Wang Xizhi's works where speed dictates adjustments for elegance.^[52] Tracing practice helps internalize these variations, ensuring the overall character remains balanced.^[50] Brush control techniques are vital for rhythmic coherence in semi-cursive script, involving precise variations in pressure, speed, and tip orientation to modulate stroke thickness and vitality. The center-tip method, with softened angles and increased velocity, produces sturdy yet fluid lines, while side-tip usage creates delicate connections; pressure starts with a press at 45 degrees for thicker endpoints, lifting gradually for thinner middles in horizontals or verticals.^[50] Factors like ink moisture—wetter for quick, thin strokes and drier for deliberate, heavy ones—interact with wrist suspension and a light grip between thumb, index, and middle fingers to convey natural energy.^[50]^[51] In turns or hooks, continuous effort without halting, such as pressing leftward from a vertical, integrates these controls to link elements dynamically.^[50]

Layout and Direction

In semi-cursive script, also known as running script or xingshu, text is traditionally arranged in vertical columns read from top to bottom, with columns progressing from right to left. This orientation aligns with the natural downward motion of the brush, allowing for uninterrupted stroke continuity and preventing the writer's hand from smudging freshly inked characters on the right side.^[53]^[54] The vertical-right-to-left layout enhances visual harmony by mirroring the rhythmic, flowing quality of the script, where connected strokes across characters create a seamless progression that evokes movement.^[16] Spacing in semi-cursive compositions emphasizes compact character placement with minimal gaps between elements, fostering a "running" effect that unifies the text into a continuous stream. Characters are often linked by subtle connecting strokes, reducing isolation and promoting a sense of fluidity, while variations in inter-character space allow calligraphers to adjust rhythm and balance within the column.^[16] This approach contrasts with more rigid scripts by prioritizing dynamic flow over strict alignment, ensuring the overall layout appears lively yet legible.^[20] In modern contexts, semi-cursive script has adapted to horizontal formats, typically read from left to right, to suit printed materials and digital media while retaining its inherent rhythmic flow through adjusted line spacing and character connections.^[55] Calligraphers maintain the script's essence by varying stroke momentum to preserve visual continuity, even as the orientation shifts to align with contemporary Western-influenced layouts.^[56] When integrating semi-cursive script with punctuation or mixed writing systems, such as hanja (Chinese characters in Korean) alongside Hangul, compositions prioritize legibility by positioning punctuation marks to interrupt the flow minimally and aligning mixed elements vertically or horizontally for balanced readability. In Korean applications, semi-cursive hanja is interspersed with Hangul syllables using traditional punctuation like the middle dot to clarify Sino-Korean compounds without disrupting the script's cursive rhythm.^[57]^[58]

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Shodo – Japanese Calligraphy | ワゴコロ
Fujiwara no Sukemasa, who was influenced by Michikaze, left the more free and beautiful writing. His calligraphy is popular even today. Fujiwara no Yukinari is ...
[33]
[PDF] Education in the Heian Period: an Emphasis on Calligraphy
Other three excellent Nosho Ono no Michikaze (894-966), Fujiwara no Sukemasa (944-998) and. Fujiwara no Yukinari (972-1028) were called the Sanseki, three great ...
[34]
Ike Taiga's "Karayo" Calligraphy
This dissertation concentrates on Ike Taiga's (1723-76) karayo or Chinese-style calligraphy: a search for Chinese prototypes and a study of his emulation ...
[35]
The Genius of Ike no Taiga: Carefree Traveler Legendary Painter
Apr 7, 2018 · Taiga left behind a body of calligraphy in the Japanese kana script used to write Japanese poetry. This work is marked by an expansiveness ...Missing: semi- cursive
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[PDF] Korean calligraphy - Theses
Aug 18, 2022 · The most famous one of these was created by another master of this time Ch'oe Ch'iwon called the "four mountain inscriptions." These Korean ...
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[Culture] Korean Calligraphy (Seoye) - UnitedKpop
Jan 12, 2019 · Choseo is a cursive script. Haeseo means a block script. Haengseo is a semi-cursive script. And finally, there is Yeseo, which is the official ...
[38]
Kim Jeonghui's calligraphy of Kim Yugeun's Autobiography of Mukso
Although best known for his unique “Chusa” script—named after his own penname “Chusa” (秋史)—Kim Jeonghui excelled in every style of calligraphy, including semi ...
[39]
The Great Calligrapher, Kim Jeong-hui - KBS WORLD
Feb 18, 2011 · Known as Chusache, Kim Jeong-hui's handwriting is characterized by powerful strokes, angular lines, varied line thickness, and distinctive ...Missing: semi- | Show results with:semi-
[40]
Chinese Calligraphy - The Metropolitan Museum of Art
Apr 1, 2008 · Increasingly cursive forms of writing, known as “running” script (xingshu) ( 1984.174 ) and “cursive” script (caoshu), also developed around ...
[41]
https://www.japan-experience.com/plan-your-trip/to-know/understanding-japan/japanese-calligraphy
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https://www.chinaeducationaltours.com/guide/chinese-new-year-couplets.htm
[43]
An Introduction to Chinese Calligraphy - Asian Art Museum
Semicursive script (xingshu or “running script”) can be compared to Western longhand. Cursive script (caoshu or grass script”) is the most abbreviated and ...
[44]
書道 Calligraphy - Shodo - Spirit of Japan
Shodo, the Japanese art of calligraphy, is a deeply revered and time-honored practice that transcends mere writing to become a profound form of artistic and ...
[45]
The Art and Heritage of Chinese New Year Couplets - LingoAce
Feb 5, 2024 · Spring Festival couplets, Chinese Lunar New Year, cultural ... Different calligraphy styles, such as running script, cursive script ...
[46]
Japanese calligraphy, a traditional art blending aesthetics and ...
Oct 5, 2024 · Japanese calligraphy (Shodō) is a 1500-year-old art combining beautiful strokes and Zen philosophy, linked to the state of mind and spiritual ...
[47]
Spring Festival Couplets | Chunlian - History and Examples
The words of the couplets vary, but they all talk about family unity, positive aspirations, business prosperity, and well-being. People usually pick words ...
[48]
1. Introduction to Chinese Scripts and Basic Writing Skills
3.4 Running Script (行书/行書, “running script”). Modern handwriting reflects semi-cursive, or “running” script, 行书/行書/xíngshū, in that strokes and, in ...
[49]
Running Script - (World Religions) - Vocab, Definition, Explanations
Running script has historically played a crucial role in Chinese literature and education by facilitating faster writing techniques while still being readable.
[50]
Skritter - Learn to Write Chinese and Japanese Characters
Chinese and Japanese made fun. Handwriting Recognition. With Skritter you write characters in your browser and get real-time grading.Missing: digital | Show results with:digital
[51]
The Future of Chinese Font Design: The Role of the Calligrapher
This essay presents a case that will hopefully prompt designers to investigate the potentials of involving more contemporary calligraphy in typeface design.Missing: semi- graphic
[52]
Simplification Is Not Dominant in the Evolution of Chinese Characters
Dec 2, 2022 · Figure 2 suggests that characters tend to increase in complexity up to seal script and subsequently become less complex. To confirm the changes ...
[53]
NJStar Chinese Pen Version 2.60
NJStar Chinese Pen is a Chinese handwriting recognition software that enables Chinese input using mouse or tablet.
[54]
Modern Revival of Calligraphy | Neocha – Culture & Creativity in Asia
Sep 20, 2016 · She encourages all of her students to approach calligraphy as an art form by beginning with the basics and building up to a solid foundation in ...
[55]
[PDF] Chinese Writing and Calligraphy
three fundamental elements of Chinese calligraphy: stroke techniques, the structure ... Running Script and in black. No inscriptions other than the two ...
[56]
[PDF] Chinese calligraphy encompasses a variety of styles ... - Mandarinwow
4. 行书（Running Script）：行书在汉代发展成为楷书的草写形式。它的. 特点是 ... 5. Stroke Techniques: Different strokes in Chinese calligraphy have specific.
[57]
https://www.researchgate.net/publication/276333599_The_Korean_Punctuation_Systems
[58]
[PDF] Left-to-Right or Right-to-Left? An Inquiry into the Text Direction of ...
Oct 1, 2012 · An explanation may be that in constructing individual characters, the convenience of moving the writing instrument‐‐ for example, a brush‐‐in ...
[59]
Why did the ancient Chinese write vertically and write from right to left?
Mar 4, 2020 · The writing of Chinese characters from top to bottom, from right to left, also reflects the ancient people's humility. In ancient times, the ...
[60]
Designing with the Hanzi script - Keith Tam
Feb 27, 2021 · An introductory article to designing with the Hanzi (Chinese) script, discussing the characteristics of the script and typographic issues.
[61]
A Guided Journey Through the History of Chinese Calligraphy
The dynasties of the Qin (221-206 BCE) and Han (206 BCE-220 CE) represent a crucial era in the history of Chinese calligraphy. ... In the trend towards ...<|control11|><|separator|>
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(PDF) The Korean Punctuation Systems - ResearchGate
Aug 6, 2025 · This research thoroughly examines Korean traditional punctuation marks and discusses how Korean traditional punctuations can be classified in the same category.
[63]
The Art Of Seoye - Tongue&Talk - Medium
Oct 9, 2021 · Haengseo (행서/行書): It is semi-cursive script. These are between a block and cursive script. I prefer this script because it is easy to read ...Missing: history | Show results with:history