Sword and Brush Together

Scott M. Rodell

Every art speaks a language. Calligraphy speaks in brush strokes, articulated in ink. The brush, ink, stone, and paper are the scholarís four treasures. With these tools the calligrapher practices essential basic brush strokes that make up any character. Mastery of these is necessary to freedom of expression with the brush.

Swordsmanship speaks in the language of cuts and thrusts. The serious student of the sword practices endless repetitions of the eight basic cuts. Without mastering these eight, the practice of any sword form will be empty. He has only one treasure, but values it as the scholar does the four.

Achieving a high level in either art requires using the whole body. It requires a fluidity of being and ëbeingí in only the moment. Each is a meditation for self cultivation, a tool for polishing the character and spirit, as much as a physical action. A meditation that is an art form, an art form that is meditation.

To know the artistís inner spirit, we carefully, mindfully, examine his written characters. To know the swordsmanís soul, we must observe him at work, executing his form. While the calligrapher demonstrates and expresses ësomethingí on the paper, the swordsmanís art is more subtle, hidden internally out of the public eye, appearing only for the moment.

The object of wielding the sword or brush is to achieve a unity of the spirit and body. Each can be used as a tool for self cultivation. When I draw a brush across paper, I always feel like I am cutting with my jian. As I move through the sword forms, I often feel as if Iíve written an enormous character.

Students of Wuyi (martial arts) may study a manís calligraphy to gain some insight into who he is, or might have been. Most Asian cultures believe that a personís handwriting is a mirror of his character. In China, famous people have had copies of their calligraphy literally carved in stone to preserve it as an inspiration to future generations. Traveling in the Mainland, whenever I heard of a piece of Emperor Kangxiís or his grandson Qianlongís calligraphy preserved nearby, I made a detour to see it. I can never meet these men, who are now long dead. Yet I feel like I got to know a little of them, sitting quietly studying the flow of their brushs captured in unmoving stone. I regret there is no way I can observe them handle a sword. In my pursuit of taijiquan (tíai chi chíuan), I have been very fortunate to study with and be acquainted with several genuine masters. I feel particularly honored to have accepted the gifts of their brushwork. Each piece is as unique as the teacher who wrote it. Each work also has something in common with all the others. This exhibition is in celebration of the Fifteenth Anniversary of the Great River Taoist Center. The Center is a place where we come to cultivate ourselves and polish bright the spirit. With this exhibition, we have sought to link the observable art and masterís spirit, expressed in ink, with the unseen potential in the tools of martial arts. Striving for unity of body-mind and intent, our watchwords might be ìWenwuxingî, or cultivated martial way. We do not wish to set pen against the sword, but join them in harmony.

As a student of martial arts since the age of nine, I have always been drawn to swords and their elegant sweeping form. Some years ago, as my practice of taijiquan deepened, a desire for a real sword grew. As a serious musician might lust for a Stradivarius to play, I sought the real thing in steel. Being a serious ëtaiji bumí at the time, any sword was out of my reach, costing what I might make in a year. I answered this challenge by starting my own business dealing in antique arms. Not only did this allow me to build a small armory for my own use, but it brought me in greater contact with Chinaís history and her martial culture. In turn I met many scholars in the field of arms and armor and befriended other serious practitioners of Chinese martial arts as they came looking for their chosen instrument.

Having traveled extensively to expand my study in the field of Chinese arms, I can say that there has never been as extensive a public display of Ming and Qing arms and armor as this. Many of the pieces on display are unique, and no similar examples can been seen in any museum anywhere. This exhibition is the direct result of the network of friends and students of history and martial arts that grew over the past few years. Without their help, my own studies would have been extremely limited. I especially want to thank Philip Tom, our curator. Without question, he is the greatest resource for students of the history and development of Asian and East European arms and armor. I also want to thank Ken Kung and Paul Haig Galleries for their loans of swords and armor. Their generosity has added much to this exhibition. Without the numerous hours spent behind the lens by George Parides, we would not have the excellent photos for our catalog. We also are truely indebted to him for his hard work. This exhibition could not have taken form without the tireless work of Great River Students Betsy Anderson, Paris Bustillos, Tosha Grantham and John Sherburne. Without their behind-the-scenes efforts this exhibiton would have remained just an idea.

Scott M. Rodell, Founder and Director,
Great River Taoist Center
all rights reserved, 1999.

The above was first publish as the introduction to: Sword & Brush, Art From China's Martial Tradition, an exhibtion organized in celebration of GRTC's Fifteenth Anniversary in October, '99. Exhibition catalogs are available (36 pages with 32 color & 7 black & White illustrations) for $27.50 plus $1.25 shipping within the US or Canada. The catalog includes a detailed description of all armaments along with articles on Sword & Brush Together, the Art of the Jian & An Introduction to Chinese Sabers. You can order copies by calling Seven Stars Trading Co. at (703) 768-8676 and charging it to your Visa or Mastercard, or by mailing us a check:

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