1.10 Space, dimension, time and surface in ideocalligraphy

There is the space within the radical or composite ideocalligraphs themselves which can be shaped by the ideocalligrapher. One or more modified strokes in a radical ideocalligraph could in turn prompt changes in succeeding ideocalligraph groups. Perspective can be generated by varying the relative size of ideocalligraphs and the shape and thickness of the strokes. Changes in distance between ideocalligraphs, in their separateness, affinity or assimilation, can prompt meaningful changes in succeeding or surrounding ideocalligraph groupings.

Above all there is the total space available for the message, statement or picture. And seemingly unused space often plays an important role. The position of ideocalligraphs in relation to that available surface has a significant bearing on the meaning intended by the ideocalligraphy as a whole. Here, the degrees of balance, ambivalence, complexity or telling simplicity play their part. The input of the ideocalligrapher with the writing instrument of choice will be decisive. The contours and surface features to be written on can highlight aspects of the meaning. Should the surface be stone, wood or plaster, then the roughness and angles of unworked stone, the grain pattern, knots and splits in wood and the cracks, uneven areas and corners in plasterwork can all be used to advantage in an ideocalligraph composition. It is enough to study palaeolithic cave art to grasp the possibilities.

An ideocalligraph's stroke configuration is often affected by those ideocalligraphs closest to it. A meaningful proximity may prompt one ideocalligraph to merge with another or to adopt certain strokes from its neighbour to establish their affinity. And it could itself be absorbed, lending and sharing strokes in a process of telling convergence. This can give rise to superimposed layers of thought or inner speech. And these layers in turn can 'melt' through each other to a new and often totally unexpected integrity.

Time can be indicated in a variety of ways. The 'time' ideocalligraph has many composite variants. There are the three 'mood' symbols for past present and future. The articulation of ideocalligraph space can suggest its sequential organization. The space between ideocalligraphs can in turn sometimes suggest time duration, or quite literally provide space for thought. And when called for, one can simply indicate a time or date with numerals. Time and distance, depth and meaning may be intimated by gradations of a single colour (when an inked Chinese brush picks up water for example). Use of two or more colours can have a powerful impact on the content and implications of the meaning flow.

The ideocalligrapher creates that moment 'now' when ink and meaning are laid down and still wet. It is a 'now' which can be experienced very many years later by the reader. The message contains the time held within its meaning and the moment in time of its creation.