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Feibai (飞白), or “flying white,” is a special technique used in Running Script (行书) calligraphy. It refers to the intentional creation of dry, textured strokes, with gaps and breaks that reveal the white of the paper. This effect of using a dry brush adds another layer of dimension to the final art work. The technique of flying white is created by using a brush with less ink, and at a faster speed, which causes it to skip across the paper, creating a striated or broken appearance. This technique adds a unique visual texture and a sense of movement and spontaneity. The technique requires a specific touch and knowledge of the tools. The use of flying white adds a dynamic quality to Running Script, creating a contrast between smooth, fluid lines and rough, textured strokes. This gives a visual counterpoint to the work and adds layers of visual interest to the final product. This unique technique helps to make each artwork stand out as unique. Flying white can also enhance the expressiveness of Running Script, adding a sense of energy and dynamism to the artwork. It allows the artist to make their work stand out and to take on a unique feel of personal expression. The technique requires a delicate balance of control and intent. Mastering the technique of flying white requires a deep understanding of brush control, ink density, and the interaction between brush and paper. It is a more advanced technique that requires a solid foundational knowledge. Mastery of this technique is an important step in the development of a skilled calligrapher. |
Tag : Flying White, Calligraphy Technique, Feibai, Running Script Art, Dry Brush Techniques
This article explores the technical aspects of Running Script, focusing on brushstrokes, pressure variations, angles, the connecting stroke, and the importance of negative space in creating a balanced composition.
This article emphasizes the importance of the heart and mind in Running Script, highlighting how the calligrapher’s inner state, intention, and emotional engagement are reflected in the strokes, and how the practice is a path to both artistic and personal growth.
This article emphasizes the importance of paper selection in Running Script, detailing how different types like rice, mulberry, or bamboo offer unique textures, absorbency levels, and colors which impact the ink’s expression and overall composition.
This concluding essay will synthesize the key themes explored throughout this series, highlighting the enduring allure of running script, xingshu, as a sophisticated and expressive art form. We will begin by reiterating the central characteristics of xingshu, highlighting its fluidity, its balance between structure and freedom, and its capacity for emotional expression. This is an opportunity to synthesize the major ideas discussed in previous essays.
While learning the techniques and principles of xingshu through copying masters is crucial, the ultimate goal for a calligrapher is to develop their own unique voice and personal style. This essay will explore the journey from learning traditional techniques to finding individual expression within the constraints of the script. It will begin by acknowledging the importance of “临摹” (linmo), the practice of copying traditional models, as the foundation for learning xingshu. It emphasizes that copying is not just about replicating, but a way to deeply understand the techniques and styles of the masters. This essential foundation is necessary for any serious calligrapher.