The body as a literal medium for calligraphy
Traditional Chinese calligraphy. The writer dipping his brush...
This page takes the viewer from a conventional calligraphy
demonstration
in the staid setting of a church in Edinburgh, to a very different setting. Here the photographs are from a gallery beside
Van Mieu,
in the heart of Hà Nội. The occasion was a demonstration which appeared superficially similar to the Scottish one, for it involved Chinese characters, brush calligraphy and an enthusiastic audience. But those were skin deep similarities. The calligraphers in Vietnam were a group of Vietnamese students all studying their country's old system of writing - Nôm. The display offered the normal range of conventional brush calligraphy, however, there was one special addition - a body in place of paper.
...the dipper applies his brush
Another writer completes a character...
...and then completes his notation - working from top to bottom, and from right to left - in traditional manner - this is not always the direction of modern calligraphy
Blue has a go now. Dipping, and lightening the load on the brush, then...
...placing it ready to write, angle of the brush and his arm placed so that he can continue smoothly
Although whole sentences are traditionally written right to left, within a character strokes predominantly follow left to right. Once the sheet is completed the next move is to...
...add the personal seal. The wooden stamp is pressed into the round tin (in his left hand) which contains a solid red paste
Completed sheets pinned to the wall - above, there is one sheet totally covered with seal marks
Traditional writing of the character for Moon with a number of seal marks having been applied
A number of writers in turn have added their calligraphic contributions to his back
A brush approaching much adorned shin
Here the photographs move from conventional paper, to skin as the calligraphic medium. A quick aside on the ideograms used. Above are two characters together, the left one is the common character for 'moon', to the right is a character designed to help the reader with more information; for example, a Vietnamese person would have been helped to read the character as "trăng" - quite a different and, except semantically, unrelated word to that for moon in (for instance) Mandarin which is "yuè".
While the new form of parchment has a gentle smile and seems well enough pleased, his companion is less satisfied
Contributing to the back. To the front of his ear, Roman script
A sole offered as blank canvas
Some marks look suspiciously decorative, rather than calligraphic
Some of the ideas conveyed are no doubt humorous. The writer working his way towards that bare foot...
...and in the guddle above, the sole gets illuminated
An admirable grasp - can you do that? - the sad artist is working on the leg...
Here, showcasing the finished foot
...and now photographs his work, this was in the year that iphones hit Vietnam
Possibly Rod Steiger's
'Illustrated Man'
was more artistic, but maybe this example of performance art deserves a prize for the esoteric!
Trailers...
The next Picture Posting
page goes to more conventional calligraphy in Hà Nội: on the street and at classes.
The next page
of the Mosaic Section is headed 'Bequest'.
Or go to the
contents
Go to the contents of the Mosaic Section.
of the Mosaic Section.