Section

English Translation by Mike Wright

I

 Publication Informatio

Copyright © 1989 by The Commercial Press (HK) Lt

All rights reserve

ISBN13：9789577651372

Author: Huang Zhuhe (黃柱河）

This free English-language translation in PDF format is published, beginning

in 2020, under license from The Commercial Press (HK) Ltd

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Version 1, 08/06/2
Version 2, 08/15/20 — Added 感悟書法 by the Autho
Version 3, 08/21/20 — Replaced 感悟書法 with Appreciating Calligraphy
Version 4, 09/19/20 — Modified Obtaining the Chinese-Language Versio
Version 5, 10/03/20 — Corrected some typo

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The PDF of Section II of Semi-Cursive Pen Calligraphy can be viewed at or

downloaded from the main web page.

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 Table of Contents
Publication Informatio
Author’s Forewor
Section I: Techniqu
1. General Description of Xíngshū (pg. 1
A. What is Xíngshū? 7
B. Special Characteristics of Xíngshū (pg. 2) 7
C. The Basic Method of Wielding the Pen in Xíngshū (pg. 3) 8
D. Basic Principles of Xíngshū (pg. 4) 9
2. Basic Xíngshū Strokes (pg. 5 1
A. Dot [diăn 點] 10
B. Horizontal [héng 橫] (pg. 10) 13
C. Vertical [shù 竪] 15
D. Left-Falling Stroke [piĕ 撇] 17
E. Right-Falling Stroke [nà 捺] 20
F. Rising Stroke [tiăo 挑] 21
G. Bent Stroke [zhé 折] 22
H. Hook [gōu 鉤] 23
3. Xíngshū Character Components (pg. 26 2
A. Left Side Components (pg.26) 27
B. Right Side Components (pg. 59) 75
C. Character Tops (pg. 69) 87
D. Character Bottoms (pg. 85) 107
E. Character Enclosures (pg. 91) 117
4. Some Xíngshū Characters Have Stroke Orders Different From Kăishū
(pg. 93 12
A. Vertical Before Horizontal (pg. 93) 120
B. Left-falling Before Horizontal (pg. 96) 122

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 C. Vertical Before Left-falling (pg. 97) 123

D. Write Vertical-to-Horizontal First (pg. 98) 123
5. Variations in the Shapes of Components and Radicals in Xíngshū125
(pg. 99) 125
A. Left Side Components (pg. 100) 125
B. Right Side Components (pg. 109) 134
C. Character Tops (pg. 112) 137
D. Character Bottoms (pg. 116) 141
E. Character Enclosures (pg. 118) 144
6. Variations in the Shapes of Characters in Xíngshū (pg. 119 14
7. The Addition and Deletion of Strokes in Xíngshū (pg. 136 16
A. Added Dot (pg. 137) 163
B. Added Horizontal Stroke (pg. 137) 164
C. Deleted Dot (pg. 138) 165
D. Deleted Horizontal Stroke (pg. 138) 166
E. Deleted Left-falling Stroke (pg. 139) 167
F. Deleted Vertical Stroke (pg. 140) 168
G. Deleted Right-falling Stroke (pg. 140) 168
H. Deleted Vertical-to-Horizontal Stroke (pg. 140) 168
I. Deleted Hook (pg. 140) 169
8. Method of Writing a Page in Pen Xíngshū (pg. 141) 170
A. Horizontal Layout Method (pg. 141) 170
B. Vertical Layout Method (pg. 143) 172

Author’s Letter of Approva 17

Appreciating Calligraph 17
Obtaining the Chinese-Language Versio 17
Translator’s Note 178

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 Author’s Forewor

With a foundation of having completed the study of writing kăishū (楷書

regular-style characters), we are better able to study xíngshū (⾏書 semi-cursive
characters). Through the increased speed of xíngshū and the time it saves, we can
increase the efficiency of our writing. Furthermore, people greatly admire
xíngshū because of its liveliness and beauty

Why is it that xíngshū can be written quickly? Because it does away with the
model/norm and adopts the special writing methods of xíngshū. The rules of
xíngshū can be summarized in four terms: leading, connecting, simplifying, and
changing

Leading [qiān 牽] refers to having the ending stroke of one character lead to, or
link with, the first stroke of the following character

Connecting [lián 連] refers to having multiple strokes within a character connect

together into a single stroke

Simplifying [jiăn 簡] refers to the simplification of some strokes

Changing [biàn 變] refers to changing the components, stroke order, and kăishū
form of a character

Because of these techniques, xíngshū can be written more quickly than kăishū.
From this, you can see that the writing methods of xíngshū and kăishū are not
the same. Some people think that writing kăishū quickly results in xíngshū. This
is not correct

It is said that, "Kăishū is like standing; xíngshū is like walking." We know that an
upright posture is best for sitting and standing. Therefore, kăishū takes balance
and uprightness in writing as virtues. Furthermore, this upright posture
normally has only a single kind of pattern. However, things are different when
walking about. There are sedate steps; there are lively steps; there are insanely

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fast steps, and there are all the beautiful steps that are performed on stage.
Therefore, the structures of xíngshū can also have many kinds of beautiful forms

How can one learn to write xíngshū? The author believes that one should first
become well-practiced in moving the pen quickly and slowly, lightly and heavily;
and, after gaining a good command of the writing of character components, then
emphasize the construction of character forms -- especially paying attention to
how the strokes within a character fit together into a unified whole due to the
relationship between their interplay and balance. Therefore, in addition to
practicing heavily, it is necessary to look at samples, comparing and making
discoveries. Only in this way can there be continuous progress

The practical usefulness of xíngshū far exceeds that of the other forms. To be able
to write an attractive xíngshū hand is every person's wish. Once one has attained
a neat, skillful standard, one can go on to seek methods of artistic expression. But
be careful not to be randomly wacky or weird. Don't create your own "individual
style" that only you can read. Otherwise, you will just cause problems for others,
wasting their time, or causing laughter, even to the point of interfering with
important matters

I put this book together for the Pen Calligraphy Education Center. It is my
greatest wish that it will be of use to all of my readers in writing with pens.
Because I am still a beginner in exploring and researching pen calligraphy, I
request the guidance of my learned readers

Thanks to Professor Ouyang Zhongshi for the cover blurb, and to Mr. Gao
Huimin for the introduction. I am also very thankful to Hong Kong calligrapher,
Professor Yu Xueman, and to all the Chinese calligraphers who have written a
few words on the following pages

Huang Zhuh
Hong Kong, January 198

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 Section I: Techniqu

1. General Description of Xíngshū (pg. 1

A. What is Xíngshū

Xíngshū is a character form that is midway between kăishū and căoshū [草

書 fully cursive characters], "Kăishū is like standing; xíngshū is like walking;
căoshū is like running." Xíngshū flows from the strokes and form of kăishū. It is
more convenient and faster to write than kăishū, and it is easier to read than
căoshū. It is the style that people are most fond of

căoshū căoxíng xíngshū kăixíng kăish

草書 草⾏ ⾏書 楷⾏ 楷書

B. Special Characteristics of Xíngshū (pg. 2

(1) It is lively, beautiful, expansive, smooth, fast to write, and time-

saving

(2) Xíngshū is the most commonly used writing style, has the most
practical value, and is most able to express one's temperament

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 (3) Having eliminated kăishū standards, we can use hairlines to

connect strokes in a reciprocal fashion

(4) Characters can be continuously connected, mutually giving way

to each other

C. The Basic Method of Wielding the Pen in Xíngshū (pg. 3

(1) Pen movement in xíngshū is not as restrained and slow as it is in

kăishū, nor is it as bold and fast as căoshū. The pen is held as in kăishū; it is
moved as in căoshū. Between the strokes there are often connecting hairlines.
Even where there is no connection, there is still the feeling that "the pen stops; the
thought continues" [筆斷意連].

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 (2) Due to the vigor of the pen movement, xíngshū strokes often have
added upward-slanting hooks, to facilitate connections between strokes

D. Basic Principles of Xíngshū (pg. 4

(1) Stroke order can be modified, for example: A horizontal stroke

that would originally have been written before a vertical stroke can be written
after the vertical stroke

(2) Strokes can be added or left out. (However, this applies only to a
small portion of characters where this is commonly done. It can't be done any old
way one pleases.) For example

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 2. Basic Xíngshū Strokes (pg. 5

Every character is formed as a composite of basic strokes. Only when the strokes
are neat and accurate will the characters written with them be attractive.
Therefore, we must proficiently master the methods of writing the basic xíngshū
strokes

A. Dot [diăn 點

The dot is the eye of a character. It adds the touch that brings the
character to life. The dot takes many forms in xíngshū

Left dot with point [chūfēng zuŏ diăn 出鋒左點]. Lightly place the
pen, moving down toward the lower left while gradually increasing
the weight of the stroke. Make a point back toward the upper right.
Usually used opposite a "right dot”. (pg. 5

Left dot without point [bùchūfēng zuŏ diăn 不出鋒左點]. Lightly

place the pen, moving down toward the lower left while gradually
increasing the pressure. Sometimes combined into a single stroke
with the "horizontal hook”. (pg. 6

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Right dot with point [chūfēng yòu diăn 出鋒右點]. Lightly place the
pen, moving down toward the lower right while gradually
increasing the pressure. Continue by turning the pen tip to make a
lifting stroke toward the lower left. Often used at the top of a
character, as the first stroke of a character. The lifted point is for
convenience in connecting to the second stroke. (pg. 6

Right dot without point [bùchūfēng yòu diăn 不出鋒右點]. Start

lightly from the upper left and move heavily to the lower right,
coming to a stop. This is often the last stroke of a character. (pg. 7

Vertical dot [shù diăn 竪 點]. (Also called chuí diăn 垂點 or fŭ diăn
俯點.) Lightly touch the pen down horizontally, then turn the pen
and move it straight down. Often used at the top of a character, as
the first stroke of a character. (pg. 7

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Long dot [cháng diăn 長點]. (Also called făn nà 反捺.) The writing
method is like that of the "right dot without point", except that it is
drawn out longer. This is often the last stroke of a character. (pg. 8

Long dot with hook [dàigōu cháng diăn 帶鉤長點]. The stroke
begins like the "long dot". At the end of the stroke, make a return
hook, leading to the following stroke. (pg. 8

Left-right dots [zuŏ yòu diăn 左右點]. In xíngshū, the "facing dots"
[相向點] (丷) and "back-to-back dots" [相背點] (⼃⼂) of kăishū
because of the need to change stroke order and connect strokes, ar
all written as "left-right dots”. (pg. 9

When kăishū "facing dots" are written as "left-right dots", they ar

generally written in the upper part of a character, and the strok
separation is relatively narrow

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 When kăishū "back-to-back dots" are written as "left-right dots",

they are generally written in the lower part of a character, and the
stroke separation is relatively wide. (pg. 9

B. Horizontal [héng 橫] (pg. 10

Due to strokes made by the hard-tipped pen being comparatively fine,

horizontal strokes should not be written too weakly

Rising horizontal [yăng héng 仰橫]. (Also, duăn héng 短橫.) Start
lightly and finish heavily. Generally used in the upper part of a
character. It is relatively coarse and short. The force of the stroke
rises. (pg. 10

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Bowing horizontal [fŭ héng 俯橫]. (Also, cháng héng (long

horizontal) 長橫.) Start the stroke by moving in the opposite
direction. Lift slightly while moving the pen. At the end of the
stroke, move the pen tip back toward the left. Mostly used in the
middle or lower part of a character. It is relatively long, and serves
to balance the entire character. (pg. 10

Upward hook horizontal [shàngtiăo héng 上挑橫]. At the end of the

stroke, it rises toward the upper left, for convenience in continuing
to the next stroke. (pg. 11

Downward hook horizontal [xiàgōu héng 下鉤橫]. At the end of the

stroke, it hooks toward the lower left, for convenience in continuing
to the next stroke. (pg. 11

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 C. Vertical [shù 竪

Because the vertical stroke is written in the center of a character, it serves as

the character’s backbone, therefore we often use a heavy stroke for it; writing it
firmly and vigorously. (pg. 12

Dewdrop vertical [chuílù shù 垂露竪]. Start the stroke with slight
pressure. At the end of the stroke, move the tip back up slightly. The
name of this stroke comes from the fact that the bottom of this
stroke looks like a hanging dewdrop. (pg. 12

Hanging needle vertical [xuánzhēn shù 懸針竪]. Start the stroke

with pressure. As the pen moves downward, the pressure changes
from heavy to light, and the pen tip naturally comes up off the
paper. The name of this stroke comes from the fact that it looks like
a hanging needle. (pg. 12

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 Short slanting vertical [duănxié shù 短斜竪]. Make the stroke with
increasing pressure. It is slightly tilted toward the center line. It is
often used for characters that have the flat ⼝ frame. (pg. 13

Vertical with rise [dàitiăo shù 帶挑竪]. Make the stroke with
increasing pressure. At the end of the stroke, the pen tip rises to the
upper right, for convenience in continuing to the next stroke. (pg.
13

Vertical with hook [dàigōu shù 帶鉤竪]. At the end of the stroke, the
pen tip hooks up to the upper left. Because the strokes of some
characters are concentrated in the upper portion, the dewdrop
vertical stroke cannot stabilize them, so the hook is added for
stability. (pg. 14

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 D. Left-Falling Stroke [piĕ 撇

The thing to avoid with the left-falling stroke is drawing it out too long
without stopping, making it weak. Therefore we must be able to end the stroke
with strength. Only in this way will the left-falling stroke appear vigorous. (pg.
14

Short left-falling stroke [duăn piĕ 短撇]. In xíngshū, this stroke

generally combines into a single stroke with a horizontal, or other,
stroke. Therefore, it usually does not taper to a point. (pg. 14

Level left-falling stroke [píng piĕ 平撇]. Lower the pen toward the
lower right. Then turn the pen toward the left and slant off quickly.
This is usually used as the first stroke at the top of a character. (pg.
15

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 Slanting left-falling stroke [xié piĕ 斜撇], also called cháng piĕ 長撇.
Start the stroke with slight pressure, then slant off toward the lower
left. Strength must be applied right to the end of the stroke. Don’t
make it too curved. The end of the stroke can taper to a point, or not.
(pg. 15

Vertical left-falling stroke [shù piĕ 竪撇]. Start the stroke with a
horizontal movement, then turn the pen straight down. As you get
to the end of the stroke, curve off to the left. You may also curve it
upward to connect with a following stroke. (pg. 16

Left-falling stroke with hook [dàigōu piĕ 帶鉤撇]. Start the stroke
lightly, gradually increasing pressure. At the end, make a hook
toward the upper left. The entire stroke is slightly arched. (pg. 16

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 Carrying pole left-falling stroke [tiāojiăo piĕ 挑腳撇]. Draw this left-
falling stroke slightly straight. Don’t make it curved. At the end of
the stroke, it rises toward the upper right to connect with the
following stroke. (pg. 17

Return point left-falling stroke [huífēng piĕ 回鋒撇]. Start the stroke
with an open point. At the end of the stroke, bring the pen tip back
up the stroke to connect with the following stroke. Sometimes
combines into a single stroke with a following vertical or horizontal
stroke. (pg. 17

Inner hook left-falling stroke [nèigōu piĕ 內鉤撇]. At the end of the
left-falling stroke, make a hook toward the inside. This is for
connecting with the following stroke. (pg. 18

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 E. Right-Falling Stroke [nà 捺

Don’t write the right-falling stroke too loosely. You must be able to stop the
stroke. There are three kinds of right-falling strokes: “slanting”, “level”, and
“reversed”. (pg. 18

Slanting right-falling stroke [xié nà 斜捺]. Lightly lower the pen,

exert pressure from light to heavy, and at the end of the stroke,
again go from heavy to light. Don’t make the ending taper too long.
(pg. 18

Level right-falling stroke [píng nà 平捺]. The level right-falling

stroke is generally written with many twists, but in xíngshū it
sometimes doesn’t have to be written with many twists. (pg. 19

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 Reversed right-falling stroke [făn nà 反捺]. Start the stroke rather

lightly, gradually increasing the pressure. Move the pen toward the
lower right, ending the stroke with heavy pressure. (pg. 19

F. Rising Stroke [tiăo 挑

(Also called tí 提.) Rising strokes must be written resolutely, firmly, heartily,
not curved. There are two kinds, “long” and “short”. (pg. 20

Long rising stroke [cháng tiăo 長挑]. The stroke begins with a little
pressure, rising toward the upper right. It is slightly diagonal. Don’t
make it too level. (pg. 20

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 G. Bent Stroke [zhé 折

Bent strokes must be written with a natural break and a distinct contour.
Don’t make the corner round like a circle; this is to be strongly avoided. Also,
don’t write it broken into two angles. (pg. 21

(Badly written)

Horizontal bent stroke [héng zhé 橫折]. Begin the stroke lightly.
After moving the pen toward the right, move the pen naturally
downward. The horizontal stroke has a very slight radius, and the
vertical stoke is basically a straight line. (pg. 21

Vertical bent stroke [shù zhé 竪折]. Where the angle turns, it is not
written as it is in kăishū, and it is not necessary to lift the pen or halt
the pen. It is sufficient to move naturally from the vertical to the
horizontal. (pg. 22

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 Left-falling bent stroke [piĕ zhé 撇折]. Start the stroke with a left-
falling stroke, then turn the pen toward the upper right and rise up.
(pg. 22

H. Hook [gōu 鉤

When hook strokes are written strongly, they can increase the strength of a
character. (pg. 23

Horizontal hook [héng gōu 橫鉤]. After moving the pen to the right,
turn the pen to the lower left and quickly make the hook. Don’t
make the angle of the hook either too large or too small. Nor too
round, nor too sharp. It should be about a 45-degree angle. (pg. 23

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Vertical hook [shù gōu 竪 鉤]. The angle of the hook going toward
the upper left should be about 45 degrees. The vertical part of the
stroke is not always an absolutely straight line, but can curve
slightly to the left. This looks especially strong. (pg. 23

Crab claw hook [xièzhăo gōu 蟹爪鉤]. After the stroke has reached
the bottom, move the pen tip straight across to the left, then
continue moving it up in a hook. This way of writing can increase a
character’s strength and stability. The crab claw hook is usually a
character’s central vertical hook. (pg. 24

Slanting hook [xié gōu 斜鉤]. Also called gē gōu ⼽鉤. Don’t make it
too curved. Don’t make the upward hook too long. (pg. 24

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 Vertical curve hook [shù wān gōu 竪彎鉤]. Write this stroke so that it
clearly has a vertical portion, a horizontal portion, and a hook.
Don’t approximate it with a semicircle. However, don’t make the
angle where it goes from vertical to horizontal too sharp, but make
it slightly rounded. (pg. 25

Vertical curve [shù wān 竪 彎]. When you reach the end of this
stroke, don’t make a rising hook, but rather move the pen back to
the left. (pg. 25

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3. Xíngshū Character Components (pg. 26

Character components can be divided into five kinds: left components, right
components, top components, bottom components, and frame components.
There are some components that can appear on the left, right, top, or bottom of
different characters. For example

Therefore, we must proficiently master the ways of writing components that are
used differently

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 A. Left Side Components (pg.26

These are components that appear on the left side of a character. Left side
components are generally written smaller than the right portion (the left yields;
the right takes precedence), and is neither as high as nor as low as the right
portion (with the exception of certain long components)

Single man side component [⺅ dān rén páng 單⼈旁]. (pg. 27

This is written as a single stroke. The beginning of the stroke is a

short left-falling stroke, at the end of which the tip of the pen does
not leave the paper, but moves back toward the upper right, then
turns straight down as a vertical stroke. At the end of the stroke, it
lifts slightly toward the upper right. The vertical stroke often starts
at the end or middle of the left-falling stroke

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 Double man side component [⼻ shuāng rén páng 雙⼈旁]. (pg. 27

This can be completed as a single stroke, using a feeling like

drawing out a silk thread. As you finish the first left-falling stroke,
turn into the second left-falling stroke. When the second stroke
reaches its end, bring the pen tip back up that stroke to its center,
then turn straight down into a vertical stroke. At the end of the
stroke, it lifts slightly toward the upper right. The first left-falling
stroke is slightly shorter than the second

Left ear side component [阝 zuŏ ĕr páng 左耳旁]. (pg. 28

This is written as one stroke. Lightly touch down with the pen and
make a short horizontal stroke toward the upper right. Turn the pen
toward the lower left, then turn toward the lower right. Continue
the stroke rising toward the upper left. All this is done without
lifting the tip of the pen from the paper. Turn the pen downward
into a vertical stroke. At the end of the stroke, lift toward the upper
right

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 Mouth side component [⼝ kŏu zì páng ⼝字旁]. (pg. 28

This is written as one stroke. Start with a short slanting vertical

stroke on the left side, starting lightly and becoming heavier. Bring
the pen tip back up along that stroke. When it nears the start of the
original stroke, make a horizontal bent stroke to the right, bringing
the pen back to the bottom of the left vertical stroke, and finish with
a horizontal stroke. The mouth side component should be toward
the top of the character

Two dot water side component [⼎ liăng diăn shuĭ páng 兩點⽔旁].
(pg. 29

First write the upper dot (right dot with point), then write the lower
dot (rising dot). The beginning of the first dot and the beginning of
the second dot are basically vertically aligned. It can be written as a
single stroke using a connecting stroke, but is generally written as
two pen strokes. The two dot water side component appears at the
(vertical) center of a character.

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 Three dot water side component [ ⺡ sān diăn shuĭ páng 三點⽔旁].
(pg. 29

Written from top to bottom. The second dot protrudes slightly to the
left, and should not be in vertical alignment with the first dot. The
three dots can be written as three strokes; also the first dot can be
written as one stroke, with the second and third dots written as a
single connected stroke. The three dots can also be written using a
feeling of drawing out a silk thread

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 Mountain side component [⼭ shān zì páng ⼭字旁]. (pg. 30

This is written as two strokes

① First, write the central vertical stroke. At the beginning of the

stroke, press down slightly, then move the pen downward. On
reaching the bottom of that stroke, make a hook toward the
upper left. Without lifting the pen from the paper, continue with
a vertical stroke

② Finally, write the vertical dot

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Earth side component [⼟ tŭ zì páng ⼟字旁]. (pg. 30

This is written as one stroke. Make a horizontal stroke, starting light

and becoming heavier. Continue with a rising stroke, then make a
short vertical stroke, moving the pen slightly toward the lower left.
Finally, move the pen back toward the upper right while lifting the
pen. (The vertical stroke and the rising stroke can also be written as
“vertical with rise”. Don’t make the earth side component as low as
the right-hand portion of the character.

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Vertical heart side component [⺖ shù xīn páng 竪⼼旁]. (pg. 31

This is written as two strokes

① First write a vertical dot at the left side. Make the stroke with
increasing pressure, lifting the pen toward the upper right

② Continue writing a horizontal dot on the right side. Next, lift the
pen tip toward the upper left, moving it to the starting point of
the vertical stroke that falls between the two dots. The vertical
stroke can be a dewdrop vertical stroke or can finish by lifting
off toward the right. The horizontal dot on the right is higher
than the vertical dot on the left

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 Child side component [⼦ zĭ zì páng ⼦字旁]. (pg. 31

This is written as one stroke. Start with a right-to-left lead-in and

write a horizontal stroke, starting with power and increasing
pressure. Act quickly to write a curve with a hook. Without the pen
tip leaving the paper, turn the pen toward the upper right for a
rising stroke.

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Cloth side component [⼱ jīn zì páng ⼱ 字旁]. (pg. 32

This is written as two strokes.

① Write a short vertical stroke, starting light and getting heavier.

Bring the pen tip back up along it, then write a horizontal bent
stroke with hook. Use the force of the hook to make a connecting
line, moving the pen tip upward

② Then move the pen in the opposite direction, making a vertical

stroke down the center. At the end of the stroke, lift up slightly to
the upper right, for ease in connecting with the right-hand portio
of the character. The cloth side component should be lower tha
the right-hand portion

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Work side component [⼯ gōng zì páng ⼯ 字旁]. (pg. 32

This is written as one stroke. Start with the horizontal bent stroke,
continue moving the tip of the pen slightly toward the lower left,
then lift the pen tip back toward the upper right. The work side
component should be written slightly flat

Three-stroke hand side component [⺘tíshŏu páng 提⼿旁]. (pg. 33

This is completed as a single movement, using a feeling like

drawing out a silk thread. Start by writing a short slanting
horizontal stroke with a little pressure. Lift the tip toward the upper
left , continuing to write a vertical stroke with a hook. Next, turn the
pen and make a rising stroke toward the upper right. The left of the
rising stroke should extended, while the right should be contracted.

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 Three-stroke dog side component [⺨fănquăn páng 反⽝旁]. (pg. 33

This is written as two strokes.

① Start with a slight pressure, writing a left-falling stroke. Then

rise up and use a feeling of drawing out a silk thread to write a
curved stroke with a hook

② Use the impetus from the hook to lift the pen to a place just
below the point where the left-falling stroke crosses the curved
stroke. Write a return point left-falling stroke that rises back
toward the upper right

(The curved stroke with a hook can also be written as a straight

hook.

37
)

Bow side component [ ⼸ gōng zì páng ⼸字旁]. (pg. 34

This is written as one stroke. Lightly lower the pen to write a

horizontal bent stroke, moving the tip of the pen slightly to the left
to write another horizontal bent stroke, a bent stroke, and a bent
stroke with hook. The second horizontal stroke extends slightly to
the left, and the final horizontal bent stroke with hook has a slight
arc. The entire bow side component presents a slanting appearance

引 弘 弛 強 張

38
)

Woman side component [ 女 nǚ zì páng 女字旁]. (pg. 34

This is written as two strokes.

① First write a left-falling dot. Start with a slight pressure, writing

a left-falling stroke. Turn back toward the lower right to write a
dot. Let the pen tip rise upward

② Write the second left-falling stroke. At the end of the falling

stroke, curve toward the upper left. Then turn the pen toward
the upper right, writing a rising stroke. The rising stroke extends
from the left to the right

如 好 姐 案 媽

39
.

Skein side component [⽷ jiāo sī páng 絞絲旁]. (pg. 35

This is written as one stroke. Start by writing a short left-falling

stroke with increasing pressure. Bend into a curved left-falling
stroke, then bend into another curved left-falling stroke. Finally, lift
the pen tip back toward the upper right. The directions of the left-
falling strokes will vary slightly

紅 緑 紀 細 績

40
.

 Tree side component [⽊ mù zì páng ⽊字旁]. (pg. 35

This is written as three strokes

① Start with a right-to-left lead-in to write a slanting horizontal

stroke, rising at the end

② Connect to the start of the following vertical stroke. Don’t make a

hook at the end of the vertical, but lift the pen tip back upward

⓷ Write a left-falling stroke from the point where the horizontal and
vertical strokes intersect. Then the pen point rises toward the upper
right.
村 林 楊 校 柱

41
.

Square side component [⽅ fāng zì páng ⽅字旁]. (pg. 36)

This is written as four strokes

① First, make a right dot, then move the pen tip down to the left

② Use a right-to-left lead-in to write a horizontal stroke

⓷ Turn the pen tip back to write a horizontal bent stroke hook
below the right end of the horizontal stroke.

⓸ Using the impetus from the hook, lift the pen to the point where
the horizontal stroke and the horizontal bent stroke with hook meet
and make a forceful left-falling stroke. The entire “square side
component” has a slanted form. The horizontal stroke is extended
on the left and contracted the right.

放 族 旅 旌 旗

42
.

Cow side component [⽜ níu zì páng ⽜字旁]. (pg. 36)

This is written as one stroke. Begin with a short left-falling stroke

and bend back to the right to write a horizontal stroke. At the end of
the horizontal stroke, lift upward and connect with a vertical stroke
with hook. Using the impetus of the hook of the hook, turn the pen
and lift toward the upper right

牡 壯 物 牦 特

43
.

 Fire side component [火 huŏ zì páng 火字旁]. (pg. 37

This is written as four strokes.

① First, make a left dot with increasing pressure

② Move the pen tip upward, continuing on to write a right

horizontal dot

⓷ Move the pen tip up and write a vertical left-falling stroke.

⓸ Make a hook at the end of the left-falling stroke continuing to the

last dot

灼 炸 炒 炖 烤

44
.

King side component [王 wáng zì páng 王字旁]. (pg. 37

This is written as one stroke. (The stroke order is different from

kăishū.) Start by writing a short horizontal stroke, with increasing
pressure. Turn the pen, bending to a vertical stroke. From the end of
the vertical stroke, rise toward the upper left, writing the middle
horizontal stroke in a continuous movement. After the middle
horizontal stroke has crossed the vertical stroke, pull the pen tip to
the lower left, then move the pen tip back toward the upper right

理 球 玩 現 瑞

45
)

 Proclaim side component [⽰ shì zì páng ⽰字旁]. (pg. 38

This is written as three strokes. (The stroke order is different from

kăishū.

① First, make the top dot, slanting off toward the left

② Use a right-to-left lead-in to write a horizontal stroke, bending

into a vertical stroke, then bringing the pen tip back up

⓷ From the point where the horizontal stroke bends to the vertical,
write a left-falling stroke followed by a rising stroke

(The top dot is directly above the vertical stroke.)

祈 社 祝 福 神

46
)

 Clothing side component [ 衣 yī zì páng 衣字旁]. (pg. 38

This is written as four strokes. (The “proclaim side component"

writing method can also be used.)

① After writing the dot, trail off in a left-falling stroke

② Continue writing the horizontal-to-left-falling stroke, with a

return point

⓷ Continue to a vertical stroke. Bring the pen tip back up at end of

the vertical stroke.

⓸ Write the last two dots

枹 被 衫 袖 初

47
.

 Sun side component [⽇ rì zì páng ⽇字旁]. (pg. 39

This is written as two strokes

① First, write a vertical stroke with increasing pressure, then bring

the pen tip back up and write a horizontal bent stroke, ending in a
hook

② Next, write a dot in the center. Move the pen tip down in a left-
falling stroke , and then make a rising stroke from the bottom of the
left vertical toward the right.

明 暗 晚 晴 暖

48
.

Evil side component [⽍ dăi zì páng ⽍字旁]. (pg. 39

This is written as two strokes

① First, press down slightly to write a horizontal-to-left-falling

stroke. Move the pen tip up to the center of the left-falling stroke
and write another horizontal-to-left-falling stroke. When you get to
the end of the left-falling stroke, hook upward.

② Lift the pen and write the final dot.

(The first left-falling stroke is short. The second left-falling stroke is

long.)

殊 殃 殉 案 殤

49
.

 Moon side component [⽉ yuè zì páng ⽉字旁]. (pg. 40

This is written as three strokes.

① First, press down slightly to write a vertical left-falling stroke,

hooking upward at the end

② Lift the pen to the top of the vertical stroke and write a horizontal
bent stroke with hook

⓷ Use the momentum of the hook to write a dot and a rising stroke
in the center

肚 腸 肥 脹 服

50
.

Shell side component [⾙ bèi zì páng ⾙字旁]. (pg. 40

This is written as three strokes

① First, write a vertical stroke with increasing pressure. Move back

up the vertical stroke and write a horizontal bent stroke with hook

② Using a feeling like drawing out a silk thread, write the two
middle dots and a horizontal-to-left-falling stroke

⓷ Return the pen tip up the left-falling stroke to write the final dot.

賜 財 賠 販 貶

51
.

 Stand side component [立 lì zì páng 立字旁]. (pg. 41

This is written as two strokes

① First, write a right dot stroke with increasing pressure, slanting

off to the lower left

② Use the momentum of the pen to write a horizontal stroke,

starting with a right-to-left lead-in. Move the pen tip down to write
a left dot and a left-falling dot, connecting them with a hairline.
When the left-falling dot slants off to the lower left, turn the pen and
lift up toward the upper right

站 竦 竣 靖 端

52
.

 Grain side component [⽲ hé zì páng ⽲字旁]. (pg. 41

This is written as three strokes

① First, write a level left-falling stroke

② Following the momentum of the stroke, write a slanted

horizontal stroke. At the end of the horizontal stroke, rise up and
write a vertical stroke

⓷ Return the pen tip upward to the point where the horizontal and
vertical strokes intersect. Write a left-falling stroke and a rising
stroke

和 私 秋 秒 科

53
.

Eye side component [⽬ mù zì páng ⽬字旁]. (pg. 42

This is written as two strokes

① First, write a vertical stroke with increasing pressure. Move the

pen tip up to the top of the vertical stroke and write a horizontal
bent stroke, ending in a hook

② Continue writing the two middle dots. Where the second dot
slants off to the bottom of the vertical stroke, continue with a right-
rising stroke.

眼 睛 睜 盯 瞪

54
.

 White side component [⽩ bái zì páng ⽩字旁]. (pg. 42

This is written as two strokes

① First, write a short left-falling stroke, with slight pressure. Press

down to write a vertical stroke. Move the pen tip up to the top of the
vertical stroke, and write a bent vertical stroke, ending in a hook

② After making dot in the center, write a left-falling stroke followed

by a right-rising strok

皓 皖 皚 魄 皎

55
e

 Field side component [⽥ tián zì páng ⽥字旁]. (pg. 43

This is written as two strokes. (The stroke order is different from

kăishū.

① First, write a vertical stroke, with light to heavy pressure. Move

the pen tip up to the beginning of the vertical stroke, and write a
bent vertical stroke, ending in a hook toward the upper left, for ease
in connecting with the following stroke

② Continue by writing a vertical stroke in the center. At the end of

the vertical stroke, write another hook. Turn the pen to the right and
write a short horizontal stroke. After the horizontal stroke crosses
the middle of the center vertical stroke, come out with a left-falling
stroke, and when that reaches the bottom of the first stroke, write a
right-rising stroke.

略 町 畛 畔 畸

56
)

Stone side component [⽯ shí zì páng ⽯字旁]. (pg. 44)

This is written as two strokes

① First, write a horizontal-to-left-falling stroke. (The horizontal

portion is short; the left-falling portion is long.) Don’t make the left-
falling stroke pointed. Instead make a slight upward hook

② Lift the pen and move it up to the middle of the left-falling stroke
and write a vertical stroke. Bring the pen tip back up along that
stroke to the beginning of the original stroke and write a horizontal
bent stroke to the right, pulling the pen back to the bottom of the
vertical stroke, and finish with a horizontal stroke to the right

(The horizontal portion should be short, the left-falling portion long.

The “mouth” character is written at the middle of the left-falling
stroke.)

研 硬 破 硝 砰

57
.

 Gold side component [⾦ jīn zì páng ⾦字旁]. (pg. 45)

This is written as three strokes

① First, forcefully write a long left-falling stroke. Don’t make the

left-falling stroke pointed. Instead make an upward hook

② Lift the pen, go to the beginning of the left-falling stroke, and

write a right dot. After making the right dot, slant out toward the
lower left

⓷ Write a short horizontal stroke, finishing with a left-falling stroke

that connects to a second short horizontal stroke. Continue with a
rising stroke to the center of the first horizontal stroke, and write a
vertical stroke down from it. Make a hook at the end of the vertical
stroke and write a left dot. Use a feeling of drawing out a silk thread
to cross back over the vertical stroke and continue by makingt a
right dot. The right dot goes to a left-falling stroke, which bends to
become right-rising stroke.

鋼 針 鋭 釣 錦

58
.

Arrow side component [⽮ shĭ zì páng ⽮字旁]. (pg. 46

This is written as three strokes

① A short left-falling stroke and a short horizontal stroke are

connected into a single stroke. Start by writing a short left-falling
stroke with increasing pressure. Bend toward the right to write a
short horizontal stroke. Move the pen tip back along the horizontal
stroke and slant out to the lower lefrt

② Continue to write a long horizontal stroke below. At the end of

the long horizontal stroke, rise up and write a left-falling stroke
from a point below the center of the short horizontal stroke. At the
end of the left-falling stroke, write an upward hook

⓷ After lifting the pen to the left, circle over to the right of the left-
falling stroke and write a dot

(The left portion of the long horizontal stroke is long, the right
portion is short.)

知 短 矮 矩 矯

59
.

 Boat side component [⾈ zhōu zì páng ⾈字旁]. (pg. 47

This is written as three strokes

① First, use a little pressure to write a short left-falling stroke. Use

the momentum at the end of the stroke to write a vertical stroke.
(Don’t write a straight left-falling stroke.) Return the pen tip to the
top and write a “horizontal bent stroke with hook”.

② Use a feeling of drawing out a silk thread to write the two

connected dots in the middle

⓷ Move the pen tip to the left of the center of the vertical stroke and
write a long rising stroke. (The left portion of the long rising stroke
is long; the right portion is short.

(The vertical portion of the “horizontal bend with hook” bows out
slightly to the left.

(Because the “boat” side component is originally a tall character,

when it is used as a side component, it should also be written taller
than the right part of the character.

航 船 舵 舫 艇

60
)

Ear side component [耳 ĕr zì páng 耳字旁]. (pg. 48

This is written as three strokes

① Turn back to write a horizontal stroke. At the end, apply

pressure to move back over that stroke to the middle of the
horizontal stroke. When the pen reaches the middle, the pen tip
glides down to make a vertical stroke

② After completing the left-side vertical stroke, pull the pen up

again and write the right-side vertical stroke. At the end of that
stroke, hook upward slightly

⓷ Use a feeling of drawing out a silk thread to write the two

connected dots in the middle. The pen tip does not leave the paper.
At the bottom of the left vertical, write a right-rising stroke. (Don’t
make the ring stroke too long. The right side vertical bows out
slightly to the left.)

耿 聘 聯 聰 職

61
.

Insect side component [⾍ chóng zì páng ⾍字旁]. (pg. 49

This is written as two strokes

① Start with a vertical stroke on the left side, starting lightly and
becoming heavier. Bring the pen tip back up to the start of the stroke
and make a horizontal bent stroke to the right, bring the pen over to
the bottom of the left vertical stroke, and finish with a right-rising
stroke.

② Write a center vertical stroke. After crossing the lower horizontal

stroke, move the pen tip toward the lower left. Continue turning the
pen back toward the upper right. At the end of the stroke, bend
toward the lower left, making a left-falling stroke

(The “insect side component” has a flat shape and is at a character’s

center — not high and not low.)

虹 蚊 蜂 蛇 蜂

62
.

 Plough handle side component [⽾ lĕi zì páng ⽾字旁]. (pg. 50

This is written as three strokes

① Use a feeling of drawing out a silk thread to connect the first

three strokes. (The first two horizontal strokes are rather short. The
third horizontal stroke is extended on the left and contracted on the
right.) When you reach the end of the third horizontal stroke, lift
upward

② Continue writing a vertical stroke. At the lower end of the

vertical stroke, use a dewdrop vertical

⓷ Lift the pen to the point where the third horizontal stroke crosses
the vertical stroke and write a left-falling-to-rising stroke.

耕 耘 蚆 耪 耗

63
.

Foot side component [⾜ zú zì páng ⾜字旁]. (pg. 50

This is written as a single stroke

First, write a ⼝ character. Make a connecting stroke down toward

the lower left, and write a left dot and a right dot. The right dot
slants down to the lower left, then breaks upward to the upper
right. (Do not lengthen the ⾜ character.

跑 路 跌 距 蹄

64
.

 Rice side component [米 mĭ zì páng 米字旁]. (pg. 51

This is written as four strokes

① First make a left dot that rises toward the upper right. (The left
dot and the right dot connect at the bottom and echo each other.

② After pressing down the pen for the right dot, slant off to the
lower left. Bend back toward the right to write a horizontal stroke.
At the end of that stroke, rise upward.

⓷ Continue to a vertical stroke. Use a dewdrop vertrical for this

stroke.

⓸ Raise the pen to the intersection of the vertrical stroke and the
horizontal stroke and write a left-falling-to-right-rising stroke.

(The horizontal stroke is extended on the left and contracted the

right. The vertical stroke bows out slightly to the left. Don’t write
the “rice side component” too long.)

粉 粒 精 粗 料

65

 Worm side component [⾘ zhì zì páng ⾘字旁]. (pg. 52

This is written as four strokes

① Make the first stroke by lightly pressing down to make a

“horizontal falling stroke”

② Lift the pen and move down to make a left dot, then lift up

⓷ Make another left dot, lift up and connect to a falling stroke. At

the end of the falling stroke, move the pen tip slightly up to the
right, then move into a curved hook.

⓸ Continue the impetus of the hook up to point where the falling

stroke and curved hook meet and write a left-falling stroke. move
the pen to the intersection of the left-falling stroke and the curved
stroke and write a left-falling stroke, and then return the pen tip
toward the upper right

(Don’t make the falling strokes too long.)

貌 貂 豹 豺 貓

66
.

 Speech side component [⾔ yán zì páng ⾔字旁 ]. (pg. 53

This is written in four strokes

① Start with a right dot. Use a feeling of drawing out a silk thread
and slant out

② Start with a right-to-left lead-in to write a horizontal stroke,

again using a feeling of drawing out a silk thread

③ Make a right dot, using a feeling of drawing out a silk thread to

draw downward

④ Press the pen downward and write a vertical with rise.

語 試 詩 話 評

67
.

 Leather side component [⾰ gé zì páng ⾰字旁 ]. (pg. 53

This is written in two strokes

① Make the first stroke as a left dot

② Make a right dot slanting toward the lower left. Break toward
the right and write a horizontal stroke. Again slant out toward
the lower left. Continue writing a horizontal bent stroke with
hook, using the impetus of the hook to continue writing a
vertical hook. Turn toward the upper right and exit with a rising
stroke.

鞋 鞍 鞘 勒 靶

68

 Horse side component [⾺ mă zì páng ⾺字旁 ]. (pg. 54

By using a feeling of drawing out a silk thread, this can be written as

a single stroke

Make the first stroke as a left-side vertical stroke. Return the pen tip
to the beginning of that stroke and write a horizontal bent stroke. At
the end of that stroke, make a rising hook. Continue into a
horizontal stroke. When the horizontal stroke crosses the vertical
stroke, slant down to the lower left and make another horizontal
stroke. After crossing the vertical stroke, again slant down to the
lower left. Again write a horizontal bent stroke with a hook. Using
the impetus from the hook, return the pen tip back toward the
upper right

馳 騁 馭 駛 駒

69
.

 Vehicle side component [⾞ chē zì páng ⾞字旁 ]. (pg. 55

This is written as three strokes

① First write the upper short horizontal

② Continue on to write the left-side short vertical stroke. Return

the pen tip to the start of the vertical and make a horizontal bent
stroke with a hook. Use the impetus of the hook to write the
central short horizontal stroke. Slant out toward the lower left,
and write a long horizontal stroke. The horizontal stroke rises up
from the lower end

③ Lift the pen and write the middle vertical stroke, using a vertical
dewdrop stroke

輯 軌 斬 軼 軒

70
.

 Bone side component [骨 gŭ zì páng 骨字旁 ]. (pg. 55

By using a feeling of drawing out a silk thread, this can be written as

a single stroke

Write a short vertical stroke with increasing pressure. Return the

pen tip to the point where the stroke began and write a horizontal
bent stroke with a hook. Use the impetus of the hook stroke to write
a central dot. Finish the dot by writing a slanting stroke down to the
left, connecting with a horizontal hook. The tip of the pen then
slides down to make a vertical stroke and a horizontal bent hook.
Continue by writing the two central dots.

骷 骼 骸 髅 骰

71
.

 Body side component [⾝ shēn zì páng ⾝字旁 ]. (pg. 56

This is written as two strokes

① First write the short slanting stroke. Return the pen tip slightly,
turning the pen downward to write a vertical stroke. Continue
to follow the original path back upward. When the pen tip
reaches the top of the vertical stroke, move the pen to the right
and write a horizontal bent stroke with hook

② Following the impetus from the hook, use a feeling of drawing

out a silk thread to write the two dots in the middle. Following
the thread of the second dot, slant out to the left and write a
slanting horizontal stroke. The right end of the slanting
horizontal stroke just touches the right vertical stroke, then
bends back toward the lower left. At the end of the stroke, move
the pen tip back up the stroke

(The right-side vertical stroke bulges out slightly to the right. The
“body side component” is slightly longer than the right portion of
the character.

躲 軀 躬 躺 射

72
)

Horn side component [⾓ jiăo zì páng ⾓字旁 ]. (pg. 57

This is written as two strokes

① The first four strokes — left-falling, horizontal-to-left-falling,

vertical, and horizontal bend with hook — are written as one
continuous stroke. Start by writing a short left-falling stroke.
Continue to the right and make a short horizontal stroke,
bending down to the left with a falling stroke, taking the pen tip
straight down in a vertical stroke. At the end of the vertical
stroke, follow it back up to the top and continue writing a
horizontal bent stroke with hook

② The two middle horizontal strokes and the vertical stroke are
written as one stroke. Using the impetus of the hook, use a
feeling of drawing out a silk thread to write the two horizontal
strokes. At the end of the second horizontal stroke, make a rising
stroke and connect to a central vertical stroke. End the vertical
stroke by moving the pen tip back up

解 觔 觥 觸 觶

73
.

Fish side component [⿂ yú zì páng ⿂字旁 ]. (pg. 58

This is written as three strokes

① Use a heavy touch to write the first left-falling stroke. Bring the
pen tip back up close to the right of where that stroke began and
write a horizontal-to-left-falling stroke. Use the impetus of that
stroke and let the pen tip slide down, continuing with a vertical
stroke. Bring the pen tip back up to the top of the vertical stroke
and, toward the right, make a horizontal bent stroke with hook

② Use the impetus from the hook to move the pen up to write a
central vertical stroke. Then hook upward to write a central
horizontal stroke. After this central horizontal stroke crosses the
central vertical stroke, it falls off to the lower left. Then write the
second horizontal stroke, and drop off toward the lower left

③ Finally, start with a right-to-left lead-in, and write a rising

stroke toward the upper righr. (The rising stroke is lengthened to
the left and is shortened on the right.）

鯨 鰻 穌 鯉 鮮

74
.

B. Right Side Components (pg. 59

These side components are written on the right side of the character. A right side
component is generally written lower than the left portion of the character

Standing knife side component [⺉lì dāo páng 立⼑旁]. (pg. 59

This is written as two strokes

① Make the first stroke as a vertical with increasing pressure, then

rise up toward the upper right

② Continue with a low-to-high lead-in and write a vertical stroke

with hook. The center portion of the vertical stroke bulges out a
bit to the left. (The left vertical stroke is no lower than the central
portion of the right vertical stroke.

到 則 制 削 判

75
.

Single ear side component [⼙ dān ĕr páng 單耳旁]. (pg. 59

This is written as a single stroke. Place the pen lightly to make a

short horizontal, then bend it down and write a vertical with hook.
Continue on to write a vertical stroke below the horizontal stroke.

即 印 却 卸 叩

Right ear side component [阝 yòu ĕr páng 右耳旁]. (pg. 60

This is written as a single stroke. First, make a short horizontal

toward the upper right, bend toward the lower left, then curve
toward the lower right. (This curve is broader than the “left ear side
component”.) Finally, hook toward the left, up to the starting point
of the short horizontal, and make a downward vertical stroke. (The
vertical stroke most frequently uses the hanging needle stroke, and
it may also use the dewdrop stroke.) The “right ear side component”
extends downward, lower than the left portion of the character.

邱 部 鄭 耶 郡

76
)

Strength side component [⼒ lì zì páng ⼒字旁]. (pg. 60

This is written as two stroke

① Start by making a horizontal bent stroke with hook. (The bend

and hook should slope toward the lower left.

② Using the impetus from the hook, move the pen upward to a
point above the center of the horizontal stroke. Use strength to
slant toward the lower left

功 助 勘 動 勁

Inch side component [⼨ cùn zì páng ⼨字旁]. (pg. 61

This is written as two stroke

① Start by making a short horizontal stroke, lifting up at the end

② start with a low-to-high lead-in to write a vertical with hook.

(The center of the vertical bulges slightly to the left.) Using the
momentum of the hook, use a feeling of drawing out a silk
thread to write the final dot with increasing pressure

封 對 尉 耐 射

77
.

 See side component [⾒ jiàn zì páng ⾒字旁]. (pg. 61

This is written as three strokes

① Start by making a vertical stroke with increasing pressure. Move

the pen tip back up to the starting point and write a horizontal
bend with hook

② Write the two center dots and the horizontal-to-left falling

stroke. (The left-falling stroke ends with the pen tip reversing
direction.

③ At the left (right?) vertical with hook, move the pen down to
make a vertical curve hook

規 觀 靦 覥 覩

78
)

Dagger-axe side component [⼽ gē zì páng ⼽字旁]. (pg. 62

This is written as three strokes

① First write a short horizontal. At the end, lift upward. Use a

feeling of drawing out a silk thread to connect to a slanting
hook. (This can also be written without the hook.

② Move the pen to a point close below the horizontal stroke and
write a left-falling stroke

③ Lift the pen to write the final dot

戰 戲 戟 戡 戒

79
.

 Wings side component [⽻ yŭ zì páng ⽻字旁]. (pg. 62

This is written as two strokes

① Put the pen tip down lightly and make a horizontal bend with
hook. Use a feeling of drawing out a silk thread to make a dot.
When the dot is done, make a left-falling stroke. Bend up to the
right and out.

② Continue the flow to write a horzontal bend with hook. Using

the impetus of the hook, continue on to write two dots

翅 翱 翔 翹 翻

80

Three slants side component [⼺ sān piĕ páng 三撇旁]. (pg. 63

This can use a feeling of drawing out a silk thread. It can also be
written as three left-falling strokes. If it is written as three connected
left-falling strokes, at the end of the first stroke, bring the pen tip
halfway back, then write the second left-falling stroke. At the end of
the second stroke, again move the pen tip back halfway and write
the third left-falling stroke. The pen tip does not emerge at the end
of the first and second left-falling strokes, but it can emerge at the
end of the third left-falling stroke

If it is written as three separate left-falling strokes, after finishing the

first stroke, lift the pen to a point halfway below the first stroke and
write the second left-falling stroke. After finishing the second stroke,
again lift the pen to a point halfway below the second stroke to
write the third left-falling stroke

(The first and second left-falling strokes are somewhat short. The
third left-falling stroke is somewhat long. The leftward slant
increases for each of the three strokes.

形 影 彤 彩 杉

81
.

 Reverse writing side component [⽁ făn wén páng 反⽂旁]. (pg. 64

This is written as a single stroke

Starting by writing a short left-falling stroke with increasing

pressure. (The left-falling stroke assumes an arc shape.) Bend
toward the right and write horizontal-to-left-falling stroke. (This
left-falling stroke also assumes an arc shape.) Use the momentum of
the left-falling stroke to rise up and continue into a right-falling
stroke

敢 改 政 故 教

Axe side component [⽄ jīn zì páng ⽄字旁]. (pg. 64

This is written as a single stroke

Start by writing a level left-falling stroke with decreasing pressure.

Just when the pen tip would leave the paper, write a vertical left-
slanting stroke. At the end of the vertical left-slanting stroke, bring
the pen tip halfway back up and write a horizontal stroke. At the
end of the horizontal stroke, bring the pen tip back to the left. At the
midpoint of the horizontal stroke, write a falling vertical stroke.
(The vertical stroke can be a dewdrop vertical or a hanging needle.)

新 斯 斷 斬 所

82
.

Page side component [⾴ yè zì páng ⾴字旁]. (pg. 65

This is written as three strokes

① First write a short horizontal with increasing pressure. Continue

by returning the pen tip to the left and down in a vertical stroke.
At the end of the vertical stroke, bring the pen back up the
vertical and make a horizontal bend with hook

② Use the impetus of the hook to move up and write the two
central dots. After the second dot, use a feeling of drawing out a
silk thread to move out to the bottom of the vertical stroke,
continuing to write a horizontal stroke and a left-falling stroke.
The left-falling stroke ends in a return point.

③ Lift the pen from the rear of the left-falling stroke and to the
front, and write the final dot

順 項 頑 頙 頰

83
.

 Bird side component [⿃ niăo zì páng ⿃字旁]. (pg. 66

This is written as three strokes

① Make a left-falling stroke with decreasing pressure. Without the

pen tip leaving the paper, make a vertical stroke with increasing
pressure. After the vertical stroke ends, follow back up the
original path to the top of the vertical stroke and make a
horizontal bend with hook

② Use the impetus of the hook to move up and write the two
central dots. After the second dot, use a feeling of drawing out a
silk thread to move out to the bottom of the vertical stroke,
continuing to write a horizontal stroke

③ After the horizontal stroke passes the vertical stroke, again use a
feeling of drawing out a silk thread to move to the bottom of the
left vertical and make a horizontal bend with hook. Use the
impetus of the hook to write a horizontal stroke toward the
right

(The horizontal bend with hook should assume a slanting form.

鴻 鵠 鴿 鴉 鵲

84
.

 Short-tailed bird side component [⾫ zhuī zì páng ⾫字旁]. (pg. 67

This is written as a single stroke. (The stroke order is different from

kăishū.

Start by writing a short left-slanting stroke with increasing pressure.

Bend up toward the right. Then bend down and make a vertical
stroke. (The vertical stroke bulges out slightly to the left.) At the end
of the vertical stroke, bring the pen tip back up halfway and move
the pen toward the upper right to make a horizontal stroke. At the
end of the horizontal stroke, move upward. Start with a low-to-high
lead-in, then move downward to make a vertical stroke. At the end
of the vertical stroke, hook upward. Using a feeling of drawing out a
silk thread, move up below the first horizontal stroke and write the
second horizontal stroke. After the horizontal stroke crosses the
vertical stroke, slope down to the left and write the third horizontal
stroke. After the third horizontal stroke crosses the vertical stroke,
again slope down to the left. Then bend to the right and write the
final horizontal stroke

(The “short-tailed bird side component” should be written lower

than the left portion of the character.

雅 稚 難 雄 雉

85
)

 Ghost side component [⿁ guĭ zì páng ⿁字旁]. (pg. 68

This is written as four strokes

① Start by making a short left-falling stroke with decreasing

pressure. Next, make a vertical stroke with increasing pressure.
Bring the pen tip back up to the top of the vertical and make a
horizontal bend with hook

② Use the impetus of the hook to move up below the center of the
horizontal stroke and make a vertical stroke. At the end of the
vertical stroke, hook upward again. Continue writing the middle
horizontal stroke. After the horizontal stroke crosses the central
vertical stroke, slope down to the left and make a horizontal
stroke and left-falling stroke from the bottom of the left vertical.
(Don’t make a point at the end of the left-falling stroke.

③ Lift the pen to the hook of the right vertical and write a vertical
curve hook

④ Use the impetus of the hook to write a “left-slanting bent dot”

near the bottom of the right vertical hook

魂 魄 魏 魁 魅

86
.

C. Character Tops (pg. 69

This indexing component is in the upper portion of the character. The character
top is generally written somewhat wider than the lower portion. (There are a few
special circumstances that are exceptions.

Writing character top [亠 wén zì tóu ⽂字頭]. (pg. 69

This is written as two strokes

① Start by making a right dot with increasing pressure. Continue

by turning the pen to the the lower left and sloping out toward
the lower left.

② Start with a right-to-left lead-in to make a horizontal stroke. At

the end of the stroke, bring the pen tip back to the left

⽂ 京 ⽞ 亦 六

87

 Person character top [⼈ rén zì tóu ⼈字頭].pg. 69

This is written as two strokes

① Start by using a little pressure to make a left-falling stroke. (The

stroke can end with a point or without a point.

② Lift the pen from the paper up to where the previous stroke
started, making a right-falling stroke with increasing pressure

令 命 舍 企 介

Factory character top [⼚ chăng zì tóu 廠字頭]. (pg. 70

This is written as one stroke. (There are two ways that this can be
written.

The first way: Start by writing a short horizontal stroke with

increasing pressure. Move the pen back along the stroke. When the
pen tip is close to the beginning point of the stroke, make a left-
falling stroke

The second way: After making a short horizontal stroke, bend into a
left-falling stroke. At the end of the left-falling stroke, let the pen tip
rise up slightly for ease in continuing to the following stroke

原 厚 厢 原 厚

88
)

 Wide character top [⼴ guăng zì tóu 廣字頭]. (pg. 70

This is written as two strokes

① First make a right dot. Finish by sloping off to the left

② Start with a right-to-left lead-in to write a horizontal stroke. The

writing methods of the “wide character top” are the same as
those of the “factory character top”

康 底 店 床 席

Bald treasure cover [⼍ tū băo gài 禿寶蓋]. (pg. 71

This is written as one stroke. Start by writing a left dot with

increasing pressure. Continue by moving the the pen tip back up to
the middle of the left dot, then write a horizontal hook to the right.
(The horizontal stroke of the “bald treasure top” should bow
slightly upward.

冠 軍 冗 冥 幂

89
)

Treasure cover character top [⼧ băo gài zì tóu 寶蓋字頭]. (pg. 71

This is written as two strokes

① First make a right dot at the top, then slope off to the left

② Continue by writing a “bald treasure cover” below

宇 宙 宗 守 家

90
.

 Big character top [⼤ dà zì tóu ⼤字頭]. (pg. 72

This is written as three strokes

① Start by making a horizontal stroke. At the end of the stroke, lift

the pen upward

② Continue by writing a long left-falling stroke. (The left-falling

stroke ends in a point.

③ Lift the pen from the paper to a point just below the intersection
of the horizontal stroke and the left-falling stroke, and write a
right-falling stroke. (The right-falling stroke can come to a point
or not. If it does not come to a point, use a reversed right-falling
stroke.

套 奢 奄 奪 奔

91
)

Mountain character top [⼭ shān zì tóu ⼭字頭]. (pg. 72

This is written as two strokes

① Start by first writing the central vertical stroke. At the end of the
stroke, hook upward and write the vertical bent stroke. (The
vertical portion is short and the horizontal portion is long.

② Lift the pen to the right and write the short vertical

岩 崖 崇 崩 岸

Corpse character top [⼫ shī zì tóu ⼫字頭]. (pg. 73

This is written as two strokes

① Start by making a horizontal bent stroke. (The horizontal stroke

should not be too long. The vertical slants slightly to the lower
left.) Without lifting the pen tip from the paper, drag the pen to
the left, then write a horizontal stroke back toward the right.
After passing the dragged stroke, move upward

② Lift the pen to the beginning of the first horizontal stroke and
write a left-falling stroke

居 屋 展 屏 尾

92
.

 Household character top [⼾ hù zì tóu ⼾字頭]. (pg. 73

This is written as three strokes

① First make a right dot at the top, then slope off to the left

② The method of writing the lower portion is the same as that of

the “corpse character top”, except that the upper horizontal
stroke is a bit longer

房 扁 扇 雇 扉

93
.

 Grass character top [艹 căo zì tóu 草字頭]. (pg. 74

There are two ways of writing this

The first method (written as three strokes)

① First make a horizontal stroke

② Make the left-side short vertical with increasing pressure. The

bottom of the vertical lifts up to the right

③ Write the right-side vertical with decreasing pressure. (The right-

side vertical slants to the lower left.

The second method

By using a feeling of drawing out a silk thread, it can be written as a

single stroke. Begin by writing the left-side vertical. Continue with a
hook to the upper left. Turn the pen to the right and write a
horizontal stroke. At the end of the horizontal stroke, lift the pen
toward the upper left. Finally, start with a low-to-high lead-in to
write a vertical stroke. (The distance between the two vertical
strokes is wide, not narrow.

芙 苗 茶 花 草

94
:

 Claw character top [爪 zhăo zì tóu 爪字頭]. (pg. 75

This is written as three strokes

① First make a level left-falling stroke with decreasing pressure

② Lift the pen and slide down to write a vertical dot. Continue by
lifting up to the right

③ Continue by writing a rising dot. Use a feeling of drawing out a

silk thread to continue writing a left-falling dot

采 妥 孚 覓 愛

Small character top [⼩ xiăo zì tóu ⼩字頭]. (pg. 75

Use a feeling of drawing out a silk thread to write this as a single

stroke. Write the middle vertical as a heavy stroke. Next, hook up
toward the upper left and continue writing a left dot. Lift up toward
the upper right side and connect with a short left-falling stroke. (The
left dot and the left-falling stroke on the right come close at the
bottom.

堂 肖 尚 光 常

95
)

 Father character top [⽗ fù zì tóu ⽗字頭]. (pg. 76

This is written in four strokes

① Start by making a strong short left-falling stroke (without a

point). Boldly take the pen to the upper right

② Lift the pen to make a right dot next to the left-falling stroke

③ Again lift the pen to a point below the center of the dot stroke
and write a left-falling stroke. (Use a long left-falling stroke with
a point

④ Again lift the pen to a point below the middle of the short left-
falling stroke and make a right-falling stroke with increasing
pressure. (The right-falling stroke has a point.

(The right-falling stroke may also be written as a reversed right-

falling stroke, which may also hook slightly down to the left for ease
in connecting to a following stroke.

斧 釜 爺 爸 爹

96
.

 Stand character top [立 lì zì tóu 立字頭]. (pg. 77

This is written as two strokes

The upper portion begins like the upper portion of the “stand side
component”. What is different is that the final stroke of the “stand
side component” is a rising stroke, while the final stroke of the
“stand character top” is a long horizontal stroke

鞋 鞍 鞘 勒 靶

Sickness character top [⽧ bìng zì tóu 病字頭]. (pg. 77

This is written as three strokes

① First write a “wide character top”

② Then move the pen up to write a right dot. Use a feeling like
drawing out a silk thread to write a dot that rises toward the
upper right

疾 病 症 疼 痛

97
.

Four character top [四 sì zì tóu 四字頭]. (pg. 78

This is written in three strokes

① Start by writing a left short vertical with increasing pressure

(slanting inward). Return the pen tip to the starting point and
write a horizontal bent stroke with hook

② Lift the pen to write the left-side middle dot with a lift

③ Continue to write the right-side short left-fallling stroke. Move

the pen to the bottom of the left vertical stroke and write the
final horizontal stroke toward the right

罡 署 羅 罰 罪

98
.

 Cave character top [穴 xué zì tóu 穴字頭]. (pg. 78

This is written in four strokes

① First write a “treasure cover character top”

② Take the pen below the “treasure cover character top” and write
left-right dots

空 究 窮 突 穿

99
.

 Bamboo character top [⽵ zhú zì tóu ⽵字頭]. (pg. 79

This is written in two strokes

① Start by writing a strong left-falling stroke. Move the pen up

near the starting point and write a left dot, lifting toward the
upper right

② With a feeling of "the pen stops; the thought continues”, move

the pen upward. Start with a low-to-high lead-in to write a
“vertical bend”. End with a left-falling stroke

答 筒 筷 第 筆

100
.

Goat character top [⽺ yáng zì tóu ⽺字頭]. (pg. 79

This is written in three strokes

① First write left-right dots. The right dot falls off to the left with a
feeling of drawing out a silk thread

② Continue by writing a “king” character, but do not write it as a

“king side component”, because the “king side component”
ends with a rising stroke, while the final stroke here is a
horizontal stroke. In addition, it ends with a left-falling stroke

美 羨 姜 羔 義

101
.

 Grain character top [⽲ hé zì tóu ⽲字頭]. (pg. 80

This is written in four stroke

① Start heavily, using pressure to make a level left-falling stroke

② Reverse direction, lifting the pen to make a horizontal stroke. At

the end of the stroke, lift the pen tip

③ Move the pen to a point below the center of the level left-falling
stroke. Write a vertical stroke from the level left-falling stroke,
ending by moving the pen back up the vertical stroke

④ Move the pen up to the intersection of the horizontal and

vertical strokes and write a left-falling stroke. Then bend toward
the right and write a reversed right-falling stroke with
increasing pressure

(The left-falling stroke and the reversed right-falling stroke extend

outward, becoming almost level.

香 秀 委 禿 季

102
.

 West character top [⻄ xī zì tóu ⻄字頭]. (pg. 81

This is written in four strokes

① Start by making a short horizontal stroke with increasing

pressure. At the end of the stroke, make a slight left-falling
stroke

② Continue by making a short left vertical stroke with increasing

pressure. Bring the pen back to the beginning of the vertical
stroke and write a “vertical bent stroke with hook” toward the
right

③ Take the pen to a point below the left end of the upper short
horizontal stroke and write a vertical stroke. Also lift it toward
the upper right

④ With a feeling of "the pen stops; the thought continues”, make

another vertical stroke (which may be written as a left-falling
stroke). Without the pen tip leaving the paper, move the pen to
the bottom of the leftmost vertical stroke and write a horizontal
stroke

要 栗 粟 票 覆

103
.

 Tiger character top [虍 hŭ zì tóu 虎字頭]. (pg. 82

This is written in three strokes

① Start by making a short vertical stroke. Move the pen tip up to

the middle of the vertical stroke and write a short horizontal to
the right. Then move to the left

② Start with a right-to-left lead-in to write a “horizontal hook”

③ Move the pen to the start of the horizontal stroke and write a
left-falling stroke. (The left-falling stroke is not pointed.) Bring
the pen tip back up and write a short horizontal. Continue
upward and write a vertical curve stroke. Finally, fall off slightly
to the lower left

虎 虜 虛 虔 虞

104
.

 Rain character top [雨 yŭ zì tóu 雨字頭]. (pg. 83

This is written in five strokes

① Start by writing a short horizontal with increasing pressure.

Move the pen tip back along the stroke and slant out toward the
lower left

② Move the pen to the left and make a left dot. Move the pen tip
back up and continue to make a horizontal hook

③ Using the impetus of the hook, move the pen up to the upper
short horizontal and make a vertical stroke. At the bottom of the
vertical stroke, hook up to the left

④ Move the pen up close to the lower horizontal stroke and write a
right dot. Then slant out to the lower left and bend toward the
upper right to write a rising stroke

⑤ Lift the pen to the right, up close to the lower horizontal stroke
and write a left-falling stroke. Then bend toward the lower right
and write a dot. End with a left-falling stroke

雲 霜 雷 雪 霞

105
.

Hemp character top [⿇ má zì tóu ⿇字頭]. (pg. 84

① First write a “wide character top”

② Lift the pen and move it below the left portion of the horizontal
stroke and write a “tree side component”. The lefthand “tree”
character’s rising stroke connects to the horizontal stroke of the
righthand “tree” as a single stroke so that they do not easily
become separated. Use a reversed right-falling stroke as the final
stroke of the righthand “tree”

摩 磨 魔 麼 糜

106
.

D. Character Bottoms (pg. 85

This indexing component is in the lower portion of the character. The character
bottom is usually written with a heavy touch, because this can strengthen the
character’s stability

Construct character bottom [⼵ jiàn zì dĭ 建字底]. (pg. 85

This is written as two strokes

① Lightly lower the pen to write a short horizontal stroke. Bend

and write a left-falling stroke. Continue writing another curved
left-falling stroke. The left-falling stroke is pointed

② Lift the pen and move it to the front (left?) of the left-falling
stroke. Write a right-falling stroke with increasing pressure.
(This right-falling stroke can also be written as a reversed right-
falling stroke

建 廷 延 廷 延

107
.

 Bottom of walk [⻎ zŏu zhī dĭ 走之底]. (pg. 85

This is written as two strokes

① First make the upper dot

② Continue by writing a horizontal-to-left-falling stroke and

curved left-falling stroke. Reverse direction toward the lower
right to write a right-falling stroke

迎 迹 進 退 遠

Walk character bottom [走 zŏu zì dĭ 走字底]. (pg. 86

This is written in three strokes

① Start by writing a short horizontal stroke with increasing

pressure, rising up at the end

② Continue by writing a vertical stroke. At the bottom, slant off to

the left

③ Start with a right-to-left lead-in to write a horizontal stroke. (It

extends on the left and is contracted on the right.) At the end of
the stroke, bend downward to write a vertical stroke. Rise up,
looping back toward the lower left, cross the vertical stroke and
slant off to the left. Finally, slant off to the lower right

108
.

 Towel character bottom [⼱ jīn zì dĭ ⼱字底]. (pg. 86

This is written as two strokes

① Start by writing a short vertical with increasing pressure. Move

back upward, continuing toward the upper right to write a
horizontal bent stroke with hook

② Move the pen toward the top and use a low-to-high lead-in to
make the central vertical stroke. (This mostly uses the hanging
needle stroke.

帛 帑 幣 帶 常

109
)

 Woman character bottom [女 nǚ zì dĭ 女字底]. (pg. 87

This is written as three strokes

① Strongly write a “left-falling dot”, rising up at the end of the

stroke

② Continue to write a left-falling stroke. (This should be curved

and end in a point.

③ Using the impetus of the left-falling stroke, move the pen to the
upper left and write a long horizontal stroke to the right.

(The second left-falling stroke is close toward the center.

姜 委 姿 婪 妄

110
.

 Dirt character bottom [⼟ tŭ zì dĭ ⼟字底]. (pg. 87

This is written as three strokes

① Start by making a short horizontal stroke with increasing

pressure. Rise upward

② Continue by writing a short vertical. At the bottom, slant off to

the left

③ Start with a right-to-left lead-in to write a long horizontal

stroke. End by drawing the pen tip back

契 型 壁 堡 坐

111
.

Tree character bottom [⽊ mù zì dĭ ⽊字底]. (pg. 88

This is written as four strokes

① Write a long horizontal stroke with a right-to-left lead-in

② Continue by writing a “vertical hook”

③ Use the impetus of the hook toward the left to make a dot, then
rise up toward the right

④ Move the pen toward the upper right and make a dot. Finish the
stroke by slanting off toward the left

楽 架 梨 案 桑

112
.

 Four dot character bottom [⺣ sì diăn dĭ 四點底]. (pg. 88

This is written as two strokes. (It can also be written as one stroke.

① First write the leftmost upward-pointing dot. Rise up toward the

right

② Write the second, third, and fourth dots as a connected stroke.

After ending with pressure, bring the pen tip back to the left

杰 照 煦 烈 然

Heart character bottom [⼼ xīn zì dĭ ⼼字底]. (pg. 89

Use a feeling of drawing out a silk thread to write this as two

strokes

① Start by making a left dot with increasing pressure. Bring the

pen tip out toward the upper right

② Continue by writing a curve hook. After the hook, continue to

write an upward dot. Then use a feeling of drawing out a silk
thread to continue writing a right dot. End the stroke by
bringing the pen tip back to the left

息 思 恕 志 忠

113
.

Moon character bottom [⽉ yuè zì dĭ ⽉字底]. (pg. 89

This is written in two strokes

① Start by writing a vertical stroke with increasing pressure. Bring

the pen tip back up the original to its starting point and make a
“horizontal bent stroke with hook” toward the right

② Using the impetus of the hook, use a feeling of drawing out a

silk thread to continue writing the two center dots

(Attention: When the “moon” character is used as the lower part of

a character, the left side is written as a “dewdrop vertical”.

育 肯 肩 胃 前

114
.

 Dish character bottom [⽫ mĭn zì dĭ ⽫字底]. (pg. 90

This is written as three strokes

① Start by writing a short vertical with increasing pressure. Bring

the pen tip back up to the starting point and write a “horizontal
bent stroke with hook”

② Using the impetus of the hook, continue to write the two center
dots. Slant off toward the left

③ Start with a right-to-left lead-in to write a long horizontal

stroke. At the end of the stroke, bring the pen tip back into the
stroke

益 孟 蛊 盤 篕

115
.

 Clothing character bottom [衣 yī zì dĭ 衣字底]. (pg. 90

Use a feeling of drawing out a silk thread to write this as two

strokes

① First make the upper dot, slanting out to the lower left. Use a
hairline to continue writing a horizontal stroke and left-falling
stroke. At the end of the left-falling stroke, bring the pen tip back
up the original path

② Near the upper portion of the left-falling stroke, write a vertical

stroke and rising stroke. Bend toward the lower left and
continue writing a left-falling stroke. Again bend toward the
lower right and write a reversed right-falling stroke

裳 裝 袋 裂 裘

116
.

 E. Character Enclosures (pg. 91

These components surround the character. The character enclosure’s outline

must be clearly delineated. Do not write the stroke weakly, as if drawing a circle

Country character enclosure [⼞ guó zì kuàng 國字框]. (pg. 91

This is written as two strokes

① First make the left-side vertical stroke. Then go back up the

original stroke. When you reach the start of the vertical stroke,
write a “horizontal bent stroke with hook”. (Continue writing
the interior portion of the character.

② At the bottom of the left-side vertical stroke, write a horizontal

stroke

國 因 圓 圈 困

117
.

District character enclosure [匸 qū zì kuàng 區字框]. (pg. 91

This is written as two strokes

① Write the upper short horizontal stroke with heavy power

② Finally, write a vertical bent stroke. At the end of the stroke,

bring the pen tip back into the stroke

區 匪 匠 匿 匾

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.

 Door character enclosure [⾨ mén zì kuàng ⾨字框]. (pg. 92

This is written in five strokes, using a feeling of drawing out a silk

thread

① Start by writing a vertical stroke with increasing pressure. Bring

the pen tip back into the stroke

② Move the pen to the right side of the top of the vertical stroke
and make a horizontal bent stroke, then hook upward

③ Make the center dot, slant off toward the lower left, and use a
feeling of drawing out a silk thread to continue writing a rising
stroke

④ Lift the pen to the right side and write a vertical bent stroke,
then lift upward

⑤ Use the impetus to write a dot. Lift up and continue writing a

“horizontal bent stroke with hook”

(The left side is a bit short. The right side is a bit long.

開 閞 問 聞 閑

119
.

4. Some Xíngshū Characters Have Stroke Orders Different From

Kăishū (pg. 93

We know that when writing kăishū, there are some basic stroke orders
that have become customary (such as: horizontal before vertical, left-
falling before right-falling, from top to bottom, from left to right, etc.).
However, when writing xíngshū, in order to facilitate the connection of
strokes, these kinds of stroke orders are often change

A. Vertical Before Horizontal (pg. 93

If the following example characters were written in kăishū style, the

horizontal strokes would be written before the vertical strokes, but when
written in xíngshū style, the vertical strokes may be written before the
horizontal strokes

120
)

121
 B. Left-falling Before Horizontal (pg. 96

When writing in kăishū style, the horizontal strokes would be

written before the left-falling strokes, but when writing in xíngshū style,
the left-falling strokes may be written before the horizontal strokes

122
)

 C. Vertical Before Left-falling (pg. 97

When writing in kăishū style, the left-falling strokes would be

written before the vertical strokes, but when writing in xíngshū style, the
vertical strokes may be written before the left-falling strokes

D. Write Vertical-to-Horizontal First (pg. 98

A few characters have a vertical-to-horizontal-stroke written later,

but when writing in xíngshū style, some may be written earlier

123
)

 E. Left Side Before Center (pg. 99

Originally, the central portion is written first, then the two sides are
written, but when writing in xíngshū style, we can write from left to right

124
)

 5. Variations in the Shapes of Components and Radicals in Xíngshū

(pg. 99

In kăishū, there is generally only one way of writing each character

component or radical, and the opportunities for variation are not great.
However, in xíngshū, there may be several ways of writing the same
component. This gives xíngshū the beauty of lively variation.

A. Left Side Components (pg. 100

125
)

126
127
128
129
130
131
132
133
B. Right Side Components (pg. 109

134
)

135
136
C. Character Tops (pg. 112

137
)

138
139
140
D. Character Bottoms (pg. 116

141
)

142


143
E. Character Enclosures (pg. 118

144
)

6. Variations in the Shapes of Characters in Xíngshū (pg. 119

The following mainly presents examples of some individual characters

with variations in form. These expand the examples of variations of
components and radicals presented in the previous section. These can be
organized into even more splendid composite character forms.

145
)

146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
 161

7. The Addition and Deletion of Strokes in Xíngshū (pg. 136

We know that the number of strokes in a character is fixed. We cannot add

a single additional stroke, and we cannot remove a single original stroke.
Otherwise, we have written an incorrect character. Due to some people in
ancient times having added or deleted strokes of a few characters, and
because these characters became part of calligraphic models from stone
inscriptions that have been handed down to this day, people have been
influenced by these models, and these few characters have become
established and recognized for use. Of course, we today do not promote
these ways of writing, but we recognize that these ways of writing may
also have good points for ourselves. Following are examples of a few
frequently seen characters with added or deleted strokes.

162
)

 A. Added Dot (pg. 137

163

B. Added Horizontal Stroke (pg. 137

164
)

C. Deleted Dot (pg. 138

165
)

D. Deleted Horizontal Stroke (pg. 138

166
)

E. Deleted Left-falling Stroke (pg. 139

167
)

F. Deleted Vertical Stroke (pg. 140

G. Deleted Right-falling Stroke (pg. 140

H. Deleted Vertical-to-Horizontal Stroke (pg. 140

168
)

I. Deleted Hook (pg. 140

169
)

 8. Method of Writing a Page in Pen Xíngshū (pg. 141

Because of the usefulness of pen calligraphy, and because of its artistic nature,
as well as because their standards of text layout are different,

The methods of pen calligraphy text layout are different because of its useful
nature and because of its artistic nature. Horizontal writing is usually used for
expressing its useful nature. Vertical writing is usually used for expressing its
artistic nature. (Of course, this is not absolute.) The following explains the
differences in these two methods of text layout.

A. Horizontal Layout Method (pg. 141

If horizontal layout is used to copy an article, to write a letter, to record a

document, to take notes, etc., it is normally written from left to right. Each
section starts with a two-character-wide indentation. Punctuation is also
written. Character size variations are not too great. Horizontal writing may be
in rows, but not in columns. Horizontal semi-cursive writing is like connected
ripples drifting across the water’s surface, presenting a kind of orderly, stable
feeling. If one wishes to add a presenter’s name (the recipient/addressee is not
usually added at the top), it is added below near the right side. A seal is placed
after the presenter’s name.

170

171
 B. Vertical Layout Method (pg. 143

(Leaning toward the artistic.

This incorporates the traditions of the writing brush. When writing

vertically, it is generally done in columns from right to left. It is usually written
in columns, not in rows. Punctuation is not required. (This is because writing
punctuation interferes with vertical continuity and the flow of energy may be
broken.) The size and height of characters may be varied in picturesque
disorder. We don’t want one character after another like a string of pearls.
Character by character, line by line, the spacings should play against one
another, connecting and interlinking. Each character, as far as possible, must be
arranged with the left and right sides in balance. Only then will it look good.
Vertical writing should be like a waterfall, coming down in torrents, with
momentum and energy, giving people a kind of feeling of flying. When adding
a presenter’s name in vertical semi-cursive text, it should be written on the
lower left, and the seal should be placed below the presenter’s name.

172
)

173
Author’s Letter of Approva

174
l

 Appreciating Calligraphy

By: Huang Zhuh

When I was informed that Mr. Mike [Wright] (an American) wanted to
translate my book, Semi-Cursive Pen Calligraphy, into English (actually, by
the time I learned this, he had already translated the better part of the book),
and to introduce it to teachers and students in Chinese language
departments in the United States, it shocked me. How could an American
have such an affection for Chinese calligraphy? How could he so
enthusiastically promote Chinese calligraphy? Mike, at over 70 years of age,
has maintained a spirit of perseverance that I admire.

A nationality, from the time that it creates written characters, has writing.
Having writing leads to having culture. Having culture leads to having
civilization. Having civilization leads to having moral principles. Therefore,
writing characters leads to expressing the heart, and practicing calligraphy
leads to the development of the person. Determination can be considered as
aspiration; moral integrity can be considered as conduct. The practice of
calligraphy truly is inseparably linked to a person's cultivation

Calm, composed writing reflects a person's steadfastness. Writing with

concentration reflects a person's sincerity. Writing with great effort reflects a
person's determination. Calm, unhurried calligraphy reflects a person's
cheerfulness. Leisurely calligraphy reflects a person's lack of constraints.
Dignified calligraphy reflects a person's scholarly refinement. Reverent
calligraphy reflects a person's virtue. Unaffected calligraphy reflects a
person's greatness. Benign calligraphy reflects a person's magnanimity

Characters are people's attire, and their faces. By writing a fine hand, people
today leave behind a a beautiful image. Moreover, it develops friendship
and expands other benefits in cultural exchange

Calligraphy seeks true goodness and beauty. This should be the highest goal
of every academic.

175
e

Speaking from the standpoint of penmanship, handwriting is one's

true state of mind. Those which are called "characters" are like
people; looking at a character is like looking at a face. Therefore, no
matter which people or which nationalities, all of them should
promote handwriting. This should be a favor given to people by
Providence, which people really should not lose

This book, Semi-Cursive Pen Calligraphy, is a copybook for training

in semi-cursive writing, paying attention to refinement of semi-
cursive calligraphy, seeking stability in gracefulness,
unconstrained elegance, working in concert with vividness,
mutually looking around, passing on and mutually connecting,
avoiding each other, leading into becoming a character, conferring
a beneficial influence on embarkation, interacting to become a
piece of writing

Studying writing by repetition, it is impossible to fail to become

standardized, lack of standardization leads to vulgarity, making it
impossible to write well. Note: With a method, it is easy to
advance; without a method, it is difficult to go on. This calligraphy
model respects this rule very seriously, giving a thorough account,
providing easy access to calligraphy students, students who
advance in order will certainly be able to write beautiful semi-
cursive script

At the time that this book has been translated into English by Mike
and introduced to lovers of Chinese writing who aspire to write
Chinese characters, I would just like to express my sincere respect
and gratitude to Mike once again.

176
.

 Obtaining the Chinese-Language Versio

When I started this project, I knew that the original Chinese-language version
was out of print, but when I searched for it online, I saw it apparently being
offered on a number of bookstore sites in Hong Kong and Taiwan, so I assumed
that there were some remaining copies being sold

A friend pointed out that none of those bookstores are actually selling the book.
When I looked more closely, every one that I looked at included a note saying
that the book is “out of print”, “not available”, and so on

If anyone discovers a source for the Chinese-language version, please contact

me at chn@raccoonbend.com and let me know, and I’ll include the information
here.

177

 Translator’s Note
Back in 1965, I worked my way through Chinese Cursive Script: An Introduction to
Handwriting in Chinese, by Fred Fang-yu Wang (published by Yale University). It
was very useful for learning to read cursive and semi-cursive Chinese
characters, but did not offer any instructions for writing them. In later years, I
purchased a variety of Chinese-language books on pen calligraphy, but they all
offered models to be imitated, with little or no information on actual technique

I purchased Semi-Cursive Pen Calligraphy in about 1995 and immediately fell in

love with it. I loved both the author’s calligraphic style and his detailed
explanation of many facets of semi-cursive pen calligraphy

Some time in 2010, I was thinking about how difficult it is to find any useful
English-language instructional texts on Chinese pen calligraphy, especially with
any degree of detail regarding the execution of strokes and the assembly of
strokes into characters.

I’m sure that there are many American students of Chinese who would get a lot
out of the original manual, but whose Chinese reading skills aren’t up to
working through it. So, I decided to try translating it in my spare time

I am fortunate in having access to a variety of Chinese-English dictionaries,

including the Pleco app that I use on my iPhone and iPad. Unfortunately, even
my most complete dictionaries are missing definitions of many calligraphy-
specific terms.

I was halfway through the translation before I realized that I could find
explanations of many terms in Chinese on Google. These were useful, but did
not include standard English terms. As a result, I’ve often had to create my
own translations for many terms.

If readers have suggestions or note any errors, they may contact me at

chn@raccoonbend.com.

178