Basic Stroke of Chinese Calligraphy Kai Shu: Left Diagonal 撇 (Version1A based on Pei Xiu’s Model)

top chinese calligraphy Chinese calligraphy basic stroke – 撇 Left Diagonal Stroke (Pinyin: Pie)

Their directions are from northeast corner to southwest corner at different angles and different lengths.

基本筆劃 撇
撇 藏鋒
The left diagonal strokes ( 撇 Pie ) always precede the right diagonal strokes ( 捺 Na ).

The strokes in this video are based “partially” on Pei Xiu’s model

Methods in writing Pie : Visualize a beautiful image before writing; get a good angle for good shape and structure; reverse the brush tip at the beginning; press slightly harder at the start and lift up eventually in a decisive manner to form a sharp ending.

Duration : 0:2:28

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16 Responses to “Basic Stroke of Chinese Calligraphy Kai Shu: Left Diagonal 撇 (Version1A based on Pei Xiu’s Model)”

  1. artvirtue says:

    The aspects for …
    The aspects for observing may include the angles, directions, speeds, and pressures of the brush tip, the angles and thickness of the structures and strokes. These are technical aspects worthy of our observation and practice for long time.

  2. artvirtue says:

    Chinese calligraphy …
    Chinese calligraphy models by ancient calligraphers and ones self observation are indeed ones best teachers in learning this art, whether we have a teacher or not. The ancient calligraphers had shown hints of techniques (which are unsurpassed by no one today) and philosophy in their work. Just as practicing a martial arts form, to decipher the meanings of each movement becomes the applications. To improve and self correct based on ancient models and our observation lead to progress.

  3. artvirtue says:

    Godowsky and Busoni …
    Godowsky and Busoni as great pianists and Pu Hsin-Yu as a Chinese brush painter were largely self-taught. They all emphasized the importance of self observation in great details. To observe oneself without knowing more related materials may be difficult. Generally, the more we read and know, the easier for self correction.

  4. artvirtue says:

    There are ways to …
    There are ways to figure out our weaknesses and mistakes by being strict and honest, reading related books of history, theories, aesthetics, philosophy, and spiritualities, making friends with others or other teachers, attending exhibitions, or consulting a native Chinese regarding calligraphy topics, and etc.

  5. white-eagle Perry says:

    so the main …
    so the main question is, if we don’t have a teacher with us, how can we figure out how to correct our mistakes? They say practice makes perfect, but if you practice sloppy, you’ll become perfect at sloppy. HELP!!!!!!

  6. dipchips says:

    Thx for the …
    Thx for the detailed explanation. People will surely understand now what calligraphy means as a beauty & maybe artform. So we can see that within the rules there are now rules again in this (maybe) art form. Thx again. Good work!

  7. artvirtue says:

    Since there are so …
    Since there are so many Chinese calligraphy styles, the points introduced in this and later videos regarding the guidelines, rules, taboos, principles, theories, aethetics, and methods are not absolute. They may or may not fit for a certain style or calligrapher. A so-called taboo or defect may be a special feature for a specific style or calligrapher.

    So I will keep the basics as related to the Kai Shu of different styles as specified in the video title.

    Thanks for comments.

  8. artvirtue says:

    Sorry I don’t …
    Sorry I don’t understand what you mean by “dragon’s claw.”

  9. artvirtue says:

    At the early stages …
    At the early stages, a beginner writes each stroke without breathing and talking. Then one proceeds to write several strokes and change the breathing. Later one feels as if s/he “forgets” breathing while doing a stroke or several characters.

  10. artvirtue says:

    The points are that …
    The points are that everyone and every situation (including different calligraphy styles and sizes) are different and try to avoid limited freedom in moving the brush.

  11. artvirtue says:

    The point of “empty …
    The point of “empty space in the hand” is to keep the wrist, hand, and fingers moving freely rather than the actual volume or space to hold an egg in certain size(s).

    I have met different people using the so-called good methods of holding a brush and they cannot do a stroke beautifully, or different people using the so-called inferior methods of holding a brush and they still can do a stroke beautifully.

  12. artvirtue says:

    Some people write …
    Some people write in books that when doing a Taichi form one can hold a cup of water on the head (for the entire form) and when holding a calligraphy brush one has an egg inside the palm. Sometimes they emphasize and/or maybe overemphasize a principle.

    It always depends on each person’s difference and different situations. They say there is no absolute rule but there are certain things to avoid.

  13. dipchips says:

    Empty space in the …
    Empty space in the hand, don’t they also say that you must be able to hold an egg without breaking or falling !? Firm grip but not tense or loose.

  14. dipchips says:

    Isn’t also..inhale …
    Isn’t also..inhale before starting en exhale while executing the stroke? So one breath is one stroke !?

  15. dipchips says:

    Dragons claw ? …
    Dragons claw ? Isn’t it called this way ?

  16. artvirtue says:

    The basic strokes …
    The basic strokes are the cornerstones of Chinese calligraphy. They are not easy to get right. Those I wrote in this video still have room for improvement.

    Thank you.

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